DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 
Pr[ce 15c each. Postpaid, Unless Different Price is Given 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

y\.aron Boggs, Freshman, 3 

acts, 21/2 hrs (25c) 8 8 

Abbu San 01 Old Japan, 2 acts, 

2 hrs (25c) 15 

After the Game, 2 acts, 1% 

hrs (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) 4 4 

All on Account of Polly, 3 acts, , 

214 hrs (25c) 6 10 

American Hustler, 4 acts, 2]/i 

hrs (25c) 7 4 

As a Woman Thinketh, 3 acts, 

2y2 hrs (25c) 9 7 

At the End of the Rainbow, 3 

■acts, 2|^ hrs (25c) 6 14 

Bank Cashier, 4 acts, 2 hrs. 

(25c) 8 4 

Blade Heifer, 3 acts, 2 h. (25c) 9 3 
Boy Scout Hero, 2 acts, 1^ hrs. 

(25c) 17 

Brookdale Farm, 4 acts, 2^ 

■ hrs , (25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25r^ . .., 7 4 

Burns Rebellion, 1 hr (25c) 8 5 

Busy-Liar, 3 acts, 2/4 h. (2.'c) 7 4 
Civil Service, 3 acts, 2'/4 hrs, 

(25c) 6 5 

College Town, 3 acts, 2^4 

hrs (25c) 9 8 

Danger Signal, 2 acts, 2 hrs.. 7 4 
Daughter of the Desert, 4 

acts, 2^4 hrs (25c) 6 4 

Deacon Dubbs, 3 acts, 2^4 hrs. 

(25c) 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(25c) 6 4 

Down in Dixie, 4 acts, 2 '-2 

hrs (25c) 8 4 

Dream That Came True, 3 

acts, 214 hrs ....(25c) 6 13 

Editor-in-Chief, 1 hr, ...(25c) 10 
Enchanted Wood, IM h.(35c).Optnl. 
Everyjouth, 3 acts, 1 ^^ h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs (25c) 4 4 

Fun on the Podunk Limited, 

114 hrs (25c) 9 14 

Heiress of Hoetown, 3 acts, 2 

hrs (25c) 8 4 

Her Honor, the Mayor, 3 acts, 

2 hrs (25c) 3 5 

High School Freshman, 3 acts, 

2 hrs : (25c) 12 

Honor of a Cowboy, 4 acts, 2i/4 

hrs (25c) 1-3 4 

Indian Days, 1 hr.- (50c) 5 2 



4 
4 

4 5 



M. F. 

In Plum Valley, .4 acts, 2^4 

hrs (25c) 6 4 

Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
Jayville Junction, H^ hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

21^ hrs (25c)10 9 

Kingdom of Heart's Content, 3 

acts, 2^ hrs (25c) 6 12 

Laughing Cure, 2 acts, 1^4 hrs. 

(25c) 4 5 

Lexington, 4 acts, 2^4 h..(25c) 9 ,4 
Little Buckshot, 3 acts, 2^4 hrs. 

( .5c) 7 4 

Lodge of Kye Tyes,, 1 hr. (25c)13 
Man from Borneo, 3 acts, 2 

hrs (25c) S 2 

]\Iirandy's Minstrels (25c) Optnl 

Mrs. Tubbs of Shantytown, 3 

acts, 214 hrs (25c) 4 7 

New Woman, 3 acts, 1 hr.... 3 6 
Old Maid's Club, 1]A hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25c) 8 6 

Old School at liick'ry Holler, 

1>4 hrs. (25c) 12 9 

On the Little Big Horn, 4 acts, 

21^ hrs '. (25c) 10 

Out in the Streets, 3 acts, 1 hr. 6 
^Parlor Matches, 2 acts, 1^ hr 

(25c) 

Poor Married Man, 3 acts, 

hrs ..(^'' 

Prairie Rose, 4 acts, 2^ h. (J-c 
Rummage Sale, 50 min...... 

Rustic Romeo, 2 acts, 2 

hrs (2^ 

Savageland, 2 arts, 2J/^ hrs. (' 
School ]\Ia'am, 4 acts, 1^4 h'-^. 6 
Scrap of Paper, 3 acts, 2 hrs. . 6 
Sewing for the Heathen, 40 r.. 1.. 
Southern Cinderella, 3 acts J 

hrs ..(:--) 

Star Bright, 3 acts, 2^4 h. ( Jc) 6 
Teacher, Kin I Go Home? 2 

scenes, 35 min 7 

Those Dreadful Twins, 3 a'' 

2 hrs (2." 

Thread of Destiny, 3 acts, 

hrs (2- 

Tonv, the Convict, 5 acts, 

hrs. C 

Town Marshal, 4 acts, 

hrs (2 

Trial of Hearts, 4 acts, 214 1 

(25c)- •.... 

Trip to Storyland, 114. hrs. (^ 
Uncle Josh, 4 acts, 234 hrs. (2C 
Under Blue Skies, 4 acts. 

hrs ...C^' 

Under the Laurels, 5 acts, 2 hv 
When the Circus Came 

Town, 3 acts, 2^ hrs. (2.' 



4 10 

10 12 

5 5 



6 4 



9 16 



/ 4 
6 3 

6 18 

•^23 
8 3 



7 10 
6 4 



T.S.DENISON&COMPANY,Publishers,154W.RandolphSt., 2go 



THE SPELL OF THE 
IMAGE 



A COMEDY 



IN A PROLOGUE AND THREE ACTS 
FOR TEN MEN AND TEN WOMEN 



BY 

LINDSEY KARBEE 

AUTHOR OF 

'After the Game" "At the End of the Rainbow" "The Call of 
Wohelo" "The Dream That Came True," "The Fifteenth of 
January," "Then Greek Met Greek," "Her First Scoop," 
"The Kingdom of Heart's Content" "The Promise of 
Tomorrow," "Sing a Song of Seniors," ''The 
Thread of Destiny," "Tomorrow at Ten," 
"A Trial of Hearts," "When the Clock 
Strikes Twelve/' 'The Whole Truth," 
"In the College Days," "Let's Pre- 
tend — A Book of Children's 
Plays," etc. 

TO 

CELESTE LORING PORTER 

AND 

WILLIAM JENNINGS SCHAETZEL 
"Dream Princes t" and "Adventure" 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



4 THE SPELL OF THE IMAGE 

to Kitty — and learns of his enemy. Terrence is about to 
tell his story — when the climax comes ! 

Act III. — Terrence is generous — and Carter accepts the 
terms. The finding of the monkey-wrench upsets auntie's 
nerves. Carolyn wears three roses and John becomes disor- 
ganized. "Don't its eyes seem to follow me — doesn't it 
seem alive?" Aunt Letitia and Aunt Alice have a lively 
tilt, with Phyllis as mediator. Belinda slaps the image — 
and the pearls are found ! Kitty follows Adventure "even 
to the end of the day." "Here's half the cost of a wedding 
ring!" 

STORY OF THE PLAY. 

Phyllis Castleman — on the evening of her betrothal to 
Lord Burleigh, an English nobleman, heeds the whispered 
word of her former lover, Rupert Huntley, as he passes her 
in the dance ; and, escaping her guests, gives him audience. 
He taunts her with her faithlessness and she confesses that 
desire for riches and power has influenced her — that she is 
through with love. The prophecy of a passing gypsy mad- 
dens Phyllis ; the mocking eyes of an image cast their spell 
upon her ; she tears the long string of pearls, Lord Bur- 
leigh's gift, from about her neck and ofifers it to the image 
as a tribute, touching a hidden spring and hiding her treas- 
ure within the fantastic body "until a stranger hand shall 
find the resting place." 

More than a century passes ; generation after generation 
lives in the old Castleman home and keeps alive its tradi- 
tions. Finally, two daughters of the house — Phyllis and 
Katherine Aldrich — find themselves with very little but 
family glory to live upon, and much to the dismay of an 
aristocratic aunt, decide to make their own way. Phyllis 
is a young woman of modern tendencies — as is her friend 
Carolyn Alexander — and she rejects the love of MacDonald 
Dunbar, a wealthy young fellow, because he has an aimless 
existence and does not measure up to her standard of a man. 
Goaded by her disappointment in him, MacDonald assumes 
control of one of his properties — a newspaper — upon which 



THE SPELL OF THE IMAGE 5 

Phyllis works as reporter, and from the first opposes Henry 
Carter who is the city's most influential citizen. Loss of 
advertising and of popular favor, delay of shipments and 
frequent accidents to the machinery — due to the fact that 
Fredericka Farr, a member of the staff is in reality work- 
ing for Carter and keeping him in touch with Clarion 
affairs — result in disaster for MacDonald ; and as a final 
blow comes the loss of his fortune. Carter attempts to buy 
the Clarion but is repulsed and in a chance conversation 
between him and Fredericka (which is overheard by Kitty 
Aldrich) the secret of his assumed name is revealed and 
the disclosure of a certain Donovan case is threatened. 
Kitty has very romantically met a young Irishman who is 
hunting for one who ruined his father years ago ; she im- 
mediately connects the two incidents and summons the 
Irishman — Terrence Donovan — by telephone. Carter is 
proved the guilty party and though generously forgiven by 
Terrence, is forced to meet the Clarion's demands. 

Belinda, a clumsy maid of the Castleman family, upsets 
the image, and in some way touches the hidden spring. The 
pearls roll out from their hiding place ; Phyllis sells them 
and with the proceeds buys half the Clarion, by the aid of 
John Harlan, MacDonald's friend and lawyer. With an 
awakened love for MacDonald — who, in his altered circum- 
stances, has vowed never again to speak of love — she turns 
the tables by asking him to marry her; and still remains 
true to her ideas of economic independence by being part 
owner of the paper and sharing the cost of a wedding ring. 
The romantic love story of Terrence and Kitty, the affair 
of John and Carolyn, form the sub plots of the play. 



CHARACTERS AND COSTUMES. 

Prologue. 
All wear the Revolutionary costumes with powdered hair 
or wigs. The gypsy appears in the usual bright gypsy attire. 

The Play. 
Kitty. — Bright, animated and enthusiastic. Wears sim- 



6 THE SPELL OF THE IMAGE 

pie little gown in Act I ; street suit and hat in Act II ; 
morning gown in first half of Act III ; simple evening gown 
in second half of Act III. 

Mrs. Breckinridge — Stately, aristocratic, sentimental 
and overbearing at times. Wears rather elaborate gown in 
Act I, with old-fashioned jewelry ; a simple morning gown 
in Act III. Hair is tinged with gray. 

Belinda — Exceedingly awkward ; romantic and dreamy 
at times. Plain gingham dress with apron. 

Phyllis — Self-assertive, of decided poise, and yet win- 
some and sweet. Tailored gown and hat in Act I ; later on, 
evening gown, wrap, gloves, etc. Tailored gown, hat and 
fancy blouse in Act II. Simple house dress in first part of 
Act III. ; simple evening or dinner gown in second part of 
Act III. 

Carolyn — Independent and self-reliant, especially in Act 
I. Sweeter and more appealing in Act III. Wears tailored 
suit in Act I ; later on, evening gown, wrap, scarf, gloves, 
etc. In Act III, she wears a simple morning gown. 

Mrs. Van Alstyne — Brusque, worldly, matter-of-fact, 
and straight to the point. Elaborate evening gown and coat 
in Act I ; dressy street costume for Act III. Gray hair. 

Fredericka — Dashing and clever. Wears a very attrac- 
tive and stylish street suit and hat, fancy blouse. 

MacDonald — Indiflferent and aimless in Act I ; very en- 
ergetic, business-like and manly during the rest of the play. 
Evening clothes in Act I ; business suit in Acts II and III. 

John — Dignified and forceful. Evening clothes in Act I ; 
business suit in Acts II and III. 

Terrence — Fascinating and persuasive. Motoring cos- 
tume in Act I ; business suit in Acts II and III. Overcoat. 

Ted — Very important. Knickerbockers. 

Lester — Quiet and business-like. Business suit. 

Burton — Excitable. Business suit. 

Carter — Middle-aged, bombastic, assertive and accus- 
tomed to his own way. Business suit. Overcoat in last act. 



THE SPELL OF THE IMAGE 



PROPERTIES. 

Prologue — Tapestries, candles, mirrors, etc. Stand with 
image. Wine glasses for guests. String of pearls for Phyl- 
lis. The image should be striking in appearance. If not 
easily obtained, one can be made of clay. 

Act I — Table with books, vase and telephone. Monkey- 
wrench for table drawer. Settee ; mantel with clock, can- 
dlesticks, etc. ; three chairs and small stool ; rugs for stair 
and floor ; portrait ; stand with image ; small table with 
vase of flowers ; pillows for settee ; button for electric 
light ; bell and auto horn for off stage ; Lorgnettes for Mrs. 
Breckinridge and Mrs. Van Alstyne. Bill, cup, and papers 
for Belinda. Shabby coat, hat and gloves for Kitty. Wrist 
watch, evening coat and gloves for Phyllis. Evening coat, 
gloves and scarf for Carolyn. Cap and visiting card for 
Terrence. 

Act II — Desk with telephone, papers, etc. Three office 
chairs. Hat tree with several hats and a cap. Two stands 
with typewriters and typewriter chairs. Window blind. 
Copy for Lester. Papers for Burton. Papers for Mac- 
Donald. Detective book for Ted. Hat, coat, note-book, 
powder case with puff for Fredericka. Note-books, hats 
and coats for Kitty and Phyllis. Note and cap and gloves 
for Terrence. Auto horn for off stage. 

Act III — Settings same as Act I. Note, monkey-wrench, 
cap and gloves for Terrence. Box of roses for Carolyn. 
Coat for Kitty. Lorgnettes for Mrs. Breckinridge and Mrs. 
Van Alstyne. Cap for Ted. Hat and overcoat for Carter. 
Pearls and pocket book with money for Phyllis. Auto horn 
for off stage. Bandage for MacDonald's hand. 



THE SPELL OF THE IMAGE 
STAGE SETTING. 



Acts I and III. 

French Window 




Stairway 

IVIantel 



Door 

I 



Door 
Image Q ^ 



French Window 




Stairway O ®JT^^" ' '<f 

>. - . DStool ^' 



L 



Tabie ^^^^ 

Door Chair n ru , Sette>-V "- 

— gD Chair Door 

Qjable Image O "X 
' -'ChaIr ^ ^-^ \ 

Act II. 

/ -^j^ DChair Window \ 

_ Hat Tree _, _ 

Door Chair D Door 



jDesk Typewriter I I 

/ChSrU^^'^"- Typewriter []n 

— ^ChalrX 



STAGE DIRECTIONS. 

R. means right of stage ; C, center ; R. C, right center ; 
L., left ; I E., first entrance ; U . E., upper entrance ; R. j E., 
right entrance, up stage, etc.; R. D., right door; L. D., left 
door ; D. F., door in flat, or scene running across the back of 
the stage ; up stage, away from the footlights ; down stage, 
near footlights. The actor is supposed to be facing the 
audience. 



THE SPELL OF THE IMAGE 



Prologue. 



Scene: Room in the Castlcman manor house. Practical 
doors at R. and L. 2 E. To R. of C. is a zvinding stairzvay; 
L. of C, an open French zvindow, revealing landscape be- 
yond. Mantel dozvn L. Settings appropriate to the period 
— and catching tJie eye, especially, on account of its incon- 
gruity, is a hideous foreign image at L. 2 E. The curtain 
rises on the gay dancers as they group around the host zvho 
stands on fJie stairzvay, zvith his daughter a fezv steps above 
him and Lord Burleigh at her right. Each guest holds a 
tiny glass filled with a sparkling liquid. 

The Host. A toast, friends, ere the music starts again ! 
Drink deep to the future happiness of my daughter and 
Lord Burleigh, whose betrothal you celebrate tonight. 
(Raises glass.) A pledge to beauty and bravery — to a win- 
some maid and a gallant knight — to England and America! 

All. England and America! (They clink glasses and 
drink the toast. An attendant maid- enters at R. places the 
glasses on a large silver tray and bears them from the 
room.) 

The Host (motioning off stage to musicians). Play on! 

To the sound of slozi' music, off stage, a Minuet is danced. 
As the last strains die azvay, the dancers pass out tzvo by 
tzvo, by stairzvay. Stage clear for a moment; then Rupert 
enters through French zvindozu. He stands irresolute and 
expectant and as if in anszver to his unspoken tJiought, 
Phyllis comes dozvn stairzvay. 

Phyllis (as she gaces nervously about). Why did you 
ask me to do this? I should be with my guests. 

Rupert (ironically). And with Lord Burleigh? (Comes 
dozvn L. to front of stage.) 

Phyllis (coldly), ^^^ith Lord Burleigh, if it pleases you 
to put it that way. (Comes dozvn stage to R. 2 E.) 

9 



10 THE SPELL OF THE IMAGE 

Rupert. If so — why did you heed my whispered word 
as I passed you in the dance ? 

Phyllis (proudly). I — I would plead my cause. 

Rupert (zvith sarcasm). And why should the future 
Lady Burleigh choose to plead her cause w^ith a mere — 
dreamer? 

Phyllis. Because dreams may not be weighed in the 
scales of this workaday world. 

Rupert. Lest the beam tip in favor of gold, lands and 
titles? 

Phyllis. My father decrees that I wed with Lord Bur- 
leigh. I am a dutiful daughter. 

Rupert (leaning forward). But what does your heart 
decree ? 

Phyllis. What right have you to ask me that? 

Rupert. The right that you have given me. (Starts to- 
ward her.) 

Phyllis (raising her hand). Rupert! Not a step 
nearer ! I have made my choice — I have weighed the con- 
sequences — I am through with love. 

Rupert (at C). And through with me. (Gazes stead- 
ily at her.) 

Phyllis. Through with you. (Forgetting herself.) Oh, 
Rupert, Rupert ! Don't look at me like that. (Comes to him.) 
See — I am dropping my mask, I am showing you my heart 
— I am telling you that my love is yours ! 

Rupert. And yet — 

Phyllis (impulsively). I cannot go away with you into 
a strange, wild country. I cannot endure hardships ; I can- 
not do without the beautiful things that make life worth 
while. I'm vain, selfish, superficial. Pm a coward — a cow- 
ard ! (Turns azvay.) 

Rupert (after a moment). And this is what your prom- 
ise meant ! (Passionately.) Love! (Points.) Why even 
the grinning image there is mocking you ! See his wicked 
smile — feel his demon eyes! (She turns again to him.) 

Phyllis (drawing away). You frighten me! 

Rupert (catching her arm). Come closer — closer! 



THE SPELL OF THE IMAGE 11 

(Pulls her to image.) For this is the deity who will rule the 
little mimic world which you have chosen ! He will dwarf 
you with false values, he will blind you with fleeting splen- 
dors — he will be remorseless in the tribute that he asks, cruel 
in the sacrifice that he demands ! Look at him — look at him ! 

The Gypsy appears at the open zvindozv. She enters and 
comes close behind them. 

Phyllis (hiding her eyes). I will not look — I — 
(Breaks azvay.) 

Gypsy (coming between them). Cross my hand with 
silver, pretty lady, and I'll tell ye what the future holds. 

Phyllis (recovering herself). Whence come you, gypsy 
girl? (The Gypsy silently and smilingly points out the open 
window, then stretches her hand beseechingly toward 
Phyllis.) 

Gypsy (whispering). Til tell ye what the future holds. 

Phyllis (haughtily) . I know already what the future 
holds. (Points to windozv.) Begone! 

Gypsy. Heed not the wedding bells that call you across 
the sea, pretty lady. For the hearts under bodices of lace 
and velvet are cruel and treacherous ; the smile that wreaths 
a courtier's face may mask a deadly purpose ; the hand that 
plies a fan may hold a dagger. (Looks tozvard Rupert.) 
Hold on to love, pretty lady, hold on to love. 

Phyllis. Begone, T tell you ! 

Gypsy (touching the long string of pearls zvhich hangs 
around Phyllis' neck). Frozen tears — frozen tears! 

Phyllis (shrinking). What do you mean? 

Gypsy. Tears for what might have been — touched by 
the icy finger of the years that are to be ! 

Phyllis (moving to R. 2 E.). I will not listen to you. 
(Stamps foot.) Away! Away! (Gypsy retreats to win- 
dozv. ) 

Gypsy. Then read what is written in the stars. (Pauses 
— then zvith her eyes fixed upon the heavens, she chants.) 
When years and years have passed into the realm of yester- 
day — when the splendor of courts has faded into nothing- 
ness, when you, yourself, pretty lady, are gone and forgot- 



12 THE SPELL OF THE IMAGE 

ten — there will burst the strong, white light of another age 
— an age, wherein there will come one who bears your name. 
But she will be strong — not weak ; fearless, not cowardly ; 
loyal — not false. (Pauses.) See — it is written in the stars! 
(Points. She steps through the zviudozv and goes off sing- 
ing a rollicking gypsy song. Phyllis and Rupert listen as 
if spellbound until tJie sound dies azvay. Rupert crosses 
to her.) 

Rupert (touching the pearls). His gift? 

Phyllis (mechanically) . His gift. 

Rupert (bitterly). Chains! Fetters! 

Phyllis (tearing them from her neck). Never! 
Never! A curse upon them! (Crosses to L.) 

Rupert. Aye, and an evil spell which the gypsy wove. 

Phyllis (holding the necklace at arm's length). Then 
ril not wear them — and the evil spell will be broken. 
(Wildly.) They shall not threaten my happiness — nay, nor 
words of yours — nor gypsy prattle — for Til wed Lord Bur- 
leigh— I'll wed Lord Burleigh! (She starts tozvard the 
windozv as if she zvould cast the pearls from her — then 
hesitates — and rushes to the image.) So you ask a penance, 
you evil spirit — a tribute ! Here — here — I give it gladly. 
(Hangs pearls about neck of image.) I ask only for the 
gold, the jewels, the lands and the beautiful things that will 
bring me happiness. You shall have the pearls — and — 
(suddenly) V\\ hide them — hide them — and no one will 
even know — and I shall never tell. (Takes pearls from 
neck of image.) They shall be for your own — your own — 
(eagerly searches for the spring) — where is the spring, the 
hidden spring — (as she finds it.) Ah ! (Pushes pearls into 
the aperture and seals it again.) Lie there my ill-starred 
beauties, for your power is broken — your menace is gone ! 
Lie there through all the dark ages that are to come, until 
perchance — a stranger hand shall find your resting place. 
Now, I am free — free — free! (As the sound of voices and 
revelry comes nearer, she crosses to Rupert at R. 2 E.) Our 
tryst is over — our dream is ended — and tomorrow, we shall 
be as strangers. (Takes his hand.) Let love die to soft 



THE SPELL OF THE IMAGE 13 

music. (As the dancers enter.) Father; I have my cava- 
Her for the dance. He begs to tread a measure — with Lady 
Burleigh ! 

(A Minuet and — ) 

Curtain. 



Act I. 



Scene: Same as Prologue, the settings relieved by 
modern touches. Small table zvith flozvers at C. in F. 
Stool L. of table. Large table with books, vase and tele- 
phone down R. Large chairs R. and back of table. Chair 
R. 2 E. Large portrait of Phyllis Castleman, Lady 
Burleigh, hung at R. 2 E. Image at L. 2 E. Mantel with 
clock, candlesticks, etc., down L. Settee zvith pillozvs L. of 
C. Rugs for stairzvay and floor. Electric light button by 
door at L. 2 E. 

As the curtain rises there comes the sound of an electric 
bell. After a moment, Kitty tiptoes quietly dozvn the stair- 
zvay and stands irresolute. Bell sounds again, this time 
more prolonged and emphatic. Belinda appears at door 
at R. and Kitty motions her to be quiet. Again the bell — 
and Mrs. Breckinridge comes to the top of the stairzvay. 
Again the pantomime. They stand in this zvay for a fezv 
moments, then Kitty tiptoes to the windozv and peers cau- 
tiously out. 

Kitty {zvith evident relief). He's gone! (Turns.) 

Mrs. B. Who's gone? 

Kitty. The butcher. (Belinda moves to C.) 

Mrs. B. The butcher f (Trails majestically dozvn the 
stairs.) And is it customary for the butcher to try the 
front door? (Crosses to chair at R. of table.) 

Kitty. Only when he can't get in at the back door. He's 
tried twice today. 

Mrs. B. (seating herself.) But why don't you answer 
the bell? 

Kitty. For the simple reason that it's the first of the 
month, dear auntie. (Seats herself on settee.) 



14 THE SPELL OF THE IMAGE 

Belinda. Do you reckon it's one of them bills, Miss 
Kitty? 

Kitty. It's quite possible. Suppose you look, Belinda. 
(Exit Belinda at L. 2 E.) 

Mrs. B. May I ask if you are in the habit of discussing 
our financial situation with Belinda? 

Kitty. Mercy, yes ! Belinda is familiar with the rattle 
of each and every family skeleton. 

Mrs. B. {haughtily) . The Castlemans have never made 
equals of their servants, Katherine. 

Kitty. The Castlemans probably believed in wages. 
You must remember that at present we're giving Belinda 
only moral support. 

As Belinda enters at L. 2 E. 

Kitty. Well, Belinda? 

Belinda {holding out envelope). Maybe, 'taint a bill, 
Miss Kitty. It's awful thin like. 

Kitty {taking it). That doesn't mean anything, Belinda ; 
a death warrant may be signed with a mere stroke of 
the pen. {Opens envelope, glances at contents and sighs.) 
Thank goodness ! 

Mrs. B. {anxiously) . What does it say? 

Kitty. Oh, I didn't read it — I just looked for red ink. 
When a bill has no red ink, I never take it seriously. 
{Throws it aside.) 

Mrs. B. Now, Katherine, suppose you explain all these 
mysterious performances. 

Kitty. There's nothing at all mysterious, auntie. 

Mrs. B. Dodging bills, I should call decidedly strange — 

Kitty. Not if you're minus a bank account. 

Mrs. B. {impressively). A Castleman — {suddenly re- 
membering Belinda zvJio stands back of Kitty listening.) 
You may go, Belinda. 

Belinda (startled). Yes'm. (In her embarrassment, 
she turns suddenly, trips, and makes her way blunderingly 
fozvard the door at R. zvhere she pauses.) And must I be 
saving anything for Miss Phyllis and Miss Carol? 

Kitty. Not a thing, Belinda. They'll have dinner in the 



THE SPELL OF THE IMAGE 15 

city. (Exit Belinda at R. and a terrific clatter immedi- 
ately follozvs. Kitty starting up). Good gracious! 

Belinda {opening door and peeping in). 'Taint nothin', 
Miss Kitty — just the carpet sweeper got in my way. 
(Exit R.) 

Mrs. B. (as Kitty seats herself). If I may suggest, 
Katherine — clumsiness is hardly an asset to a maid of all 
work. 

Kitty. Don't be hard on Belinda — for everybody has 
an excess of something. Why you have too much ancestry 
(Mrs. B. protests), you know you have ; Phyl has too much 
independence ; I have too much tongue. So let's not blame 
Belinda for just too much feet. 

Mrs. B. Suppose we come back to the subject of fi- 
nances? 

Kitty (sighing). How can we come back to what is 
always with us? 

Mrs. B. Is what you say about the bank account true? 

Kitty. I'm sorry — but it is. Our income at the present 
moment consists of the money from Carol's board. 

Mrs. B. Why haven't you told me? I knew of course 
that there were — economics — but I did not dream of — this. 

Kitty (rising and crossing to chair back of table). When 
you came to live with us, auntie, Phyl and I vowed that you 
should never be worried with our affairs. Now that we are 
down to our last penny, it becomes necessary to tell you. 
(Sits.) 

Mrs. B. Of course, my dear, what I have is for you and 
Phyllis to — 

Kitty (firmly). No, no auntie — most decidedly no. 
What's yours is yours — and what's ours, we must make. 

Mrs. B. (sharply). Make! How? 

Kitty. By work — of course. 

Mrs. B. What do you intend to do? 

Kitty. Anything we can. 

Mrs. B. (plaintively). The Castlemans have never gone 
out to service. 



16 THE SPELL OF THE IMAGE 

Kitty. Well, I don't think we intend to do exactly — that 
— auntie. 

Mrs. B. The daughters have never made their own 
living. 

Kitty. Maybe they weren't forced to do so. 

Mrs. B. (zi'ith dignity). If it proved necessary, they 
did it secretly as gentlewomen should. 

Kitty. Then I'm thinking there was something radically 
wrong with their spinal columns. 

Mrs. B. We, as a family, have always held that sending 
a girl into the world of business is like rubbing the bloom 
from a peach. 

Kitty. Then, auntie, the modern age has a lot of blighted 
peaches on its hands. 

Mrs. B. (sternly). Don't joke, Katherine. It's no jok- 
ing matter — it's — (zvitJi decision) — well, you can't do it, 
that's all. 

Kitty (rising). But we can do it — and what's more, we 
zvill. For your sake. Aunt Alice, we've stayed quietly at 
home and have fooled the public. Now we intend to be 
independent. 

Mrs. B. (angrily). Carolyn has been giving you these 
ideas. 

Kitty. Phyl and I don't need to be given what we al- 
ready have. And when you look at splendid, well-poised, 
capable Carol, I should think you'd be proud to have us 
just like her. 

Mrs. B. (fretfully) . Phyllis has her writing — isn't that 
enough ? 

Kitty (seating herself again). Occasional checks and 
avalanches of returned manuscripts? Hardly. 

Mrs. B. But it's such a refined work — and if she signs 
another name to what she writes, nobody can find out that 
she's earning money. 

Kitty. Too slow a route to bread and butter. 

Mrs. B. Then why doesn't she marry young Dunbar? 

Kitty (pounding table). Stop right there, auntie — 



THE SPELL OF THE IMAGE 17 

that's Phyl's affair and we have no more right to discuss it 
than we have to open her mail. 

Mrs. B. (sarcastically). Then, perhaps, you'll tell me 
what you expect to do. 

Kitty. I'm hoping to persuade Mr. Gorman to make 
me his private secretary. 

Mrs. B. (aghast). Frank Gorman? 

Kitty (in surprise). The same. What's the matter 
with him? 

Mrs. B. His mother was a washerwoman ! 

Kitty. No wonder then that he's such a nice, clean, re- 
spectable man ! 

Mrs. B. But a zvasherzvoman ! 

Kitty (reflectively). How proud she must be to know 
that he's so successful in business ! 

Mrs. B. He's often brought the clothes to the Castle- 
man's back' door. 

Kitty (cmpliatically). Which fact alone should swing 
open the Castleman's front door to him. 

Mrs. B. (warningly). Blood will tell— 

Kitty. Even to the extent of telling what it shouldn't. 

Mrs. B. (rising and standing before portrait). What 
would your ancestress, Phyllis Castleman, think? 

Kitty. If you don't mind my speaking plainly, Aunt 
Alice, I don't give a hang what she thinks. I hate her — so 
does Phyl — simpering, silly thing! 

]Mrs. B. (angrily). Katherine ! How dare you! (Rev- 
erently.) She married a lord ! (Seats herself again.) 

Kitty (disgustedly). Don't I know it! 'Twas told me 
I think, while I was in the cradle ! 

Mrs. B. (plaintively). Oh, Katherine — if you would 
only settle down ! 

Kitty (rising, crossing and picking np the hill). Settling 
up is more to my fancy right at present. 

Mrs. B. (hesitatingly). I wonder if Mrs. Van Alstyne — 

Kitty (firmly). Now, Aunt Alice! Just because she's 
father's sister and has married a rich old codger is no reason 
that she should be responsible for Phyl and me — 



18 THE SPELL OF THE IMAGE 

Mrs. B. But she has no children — 

Kitty. And we don't care to apply for the position. 
Why I should think your Castleman blood would run cold 
at the very suggestion of such a thing. 

Mrs. B. (complacently). Of course, Katherine, it was 
a condescension for your mother to marry into the Aldrich 
family. Your father w^as a good man, — but — (hesitates). 

Kitty (at C). Auntie, your buts always make me want 
to swear ! 

Mrs. B. (shocked). My dear! How can you express 
yourself in such a way ! The Castlemans never show emo- 
tion. In many respects, Katherine, you are very much like 
your father. 

Kitty (stamping) . I'm glad of it ! He has just as much 
right to be represented as the Castlemans. 

Mrs. B. (after a pause). Dear me! I don't seem to be 
able to think of any alternative. 

Kitty (thoughtfully, as she zvalks to settee). Of course 
we can sell the house — but it's old-fashioned and so far from 
the city that it wouldn't bring much. (Stands back of settee.) 

Mrs. B. (forgetting her accustomed dignity in her agi- 
tation). Sell the house! Sell the house that has been the 
home of the Castlemans for a century? Oh, my dear — you 
can't mean that! Why, every little nook is filled with the 
perfume of Yesterday ; every room is peopled with the 
ghosts of the Past ; the very air is quivering with the 
lullabies, the love songs and the plaintive melodies of 
Memory. The dim chambers have known birth, love, death ; 
the winding passages breathe the fragrance of lavender and 
roses ; even the door opens to the road of dead years which 
lea-ds to the Land of Long Ago ! 

Kitty (impulsively, rushing to her). Oh auntie — I was 
only talking — we shall never sell it — never! We were 
born here — we've grown up here — and — (whimsically) it 
looks very much as if we'd die here ! 

At this moment the bell rings. Kitty starts toward door 
— then hesitates. Belinda emerges from R. zviping a cup 
— trips and drops the cup zvhich breaks. 



THE SPELL OF THE IMAGE 19 

Kitty. Sh ! 

Belinda [in a loud whisper). 'Taint one of the good 
cups, Miss Kitty. It's got two nicks and the handle's off. 

{Bell sounds again in three sharp rings.) 

Kitty {relieved). That's Phyl. Never mind, BeHnda, 
I'll open the door. 

Exit Belinda reluctantly at R. after gathering up the 
fragments. Kitty hastily zvithdraws to outer hall at L. 2 E. 
and re-enters almost immediately, ushering in Phyllis and 
Carolyn. 

Kitty. Why didn't you give your ring at first? How 
did I know but that the sheriff was camping on the door- 
step? (Drazvs Phyllis aside to L. as Carolyn joins Mrs. 
Breckinridge.) What luck? 

Phyllis. None so far. The Star doesn't need another 
reporter — so tomorrow, I'll try the Clarion. 

Kitty. Well — the Rubicon is crossed. (Motions tozvard 
Mrs. B.) I've told her. 

Phyllis. How did she take it ? 

Kitty. Just as we expected. 

Phyllis. Then I'll cheer her up a bit. (Hurries to 
Mrs. B.) Aunt Alice, what do you think? Carol and I are 
doing society tonight. In fact, we listen to the Symphony 
from the sacred enclosure of the Van Alstyne box ! 
(Perches on arm of chair back of table.) 

Kitty. Me too? (Drops on settee.) 

Carolyn (standing at Mrs. B.'s right). It was subtly 
but definitely intimated, my dear, that we were to be the 
only guests. 

Kitty. That suits me all right. I don't understand sym- 
phonies any more than you and Phyl and the rest of the 
audience. — (TJiey protest.) Oh you dont understand them, 
you know you don't — and I'm mercifully delivered from the 
strenuous task of trying to look enthralled when, in truth, 
I'd rather be at the nearest movie. 

Phyllis. But auntie — aren't you glad we're to be friv- 
olous ? 



20 THE SPELL OF THE IMAGE 

Mrs. B. {mournfully) . Very glad, my dear. It's prob- 
ably your last opportunity — for after you begin to go out 
to service, the portals of society will be closed to you. 

Phyllis {laughhigly) . Oh, surely it won't be so bad as 
all that. Why, I'm a Castleman ! 

Mrs. B. You might just as well be an Aldrlch without 
the Castleman, if you can't continue to live as a lady. 

Phyllis. Come now, Aunt Alice, that's ridiculous. I 
intend to make my living and still be just as much of a lady 
as — {looking up at the picture) the other Phyllis. 

Mrs. B. In the Castleman lexicon, my dear, the words 
lady and new woman are not synonymous. 

Carolyn {sitting on arm of Mrs. B.'s chair). Now, 
dear lady, are you sure that you know just who the new 
woman is? Don't you think of her as a terrible creature 
who indulges in a fatal frankness of speech — who is quite 
heedless of the proprieties — who places camaraderie with 
men on a masculine basis — and who braves an occasional 
cigarette ? 

Mrs. B. {severely). How can I think of her In any 
other way, Carolyn? 

Carolyn. Well she is one type, I admit — but we're the 
other type — and we believe that the modern girl not only 
cherishes the beautiful inheritances of her grandmothers 
but also holds out her hand for the splendid gifts which the 
present age offers. Don't you understand? 

Mrs. B. I can't say that I do. 

Phyllis. Well, you wouldn't care to see us, today, wear- 
ing the styles of 1860 would you? It's the same principle — 
for the ideas of a half century ago do not fit in with present 
day conditions. 

Kitty. Speaking of clothes, reminds me that you'd bet- 
ter be adorning yourself for the sacrifice. The Dowager 
Van Alstyne doesn't care to be kept waiting. 

Phyllis {glancing at her watch). Lots of time. Kit — 
but we'll take your advice just the same. {Gathers up her 
belongings.) Come on Carol and {patting Mrs. B.'s shoul- 



THE SPELL OF THE IMAGE 21 

der) auntie, it's dear of you to be so sweet about my plans 
and to encourage me so. It makes my work twice as easy. 

Mrs. B. (wiping her eyes). And just what is your work, 
Phyllis? (Carolyn stands on stairway.) 

Phyllis. Tonight my fate is in the hands of the gods — 
but tomorrow, they'll toss me an entrance ticket to the w^orld 
of journalism. 

Mrs. B. You can't deceive me Phyllis. I know deep in 
my heart that you intend to be just a plain, everyday re- 
porter. 

Phyllis. Everyday? Yes. But plain — oh, auntie how 
could you? 

Mrs. B. I don't feel like indulging in repartee, Phyllis. 
It's been a very trying evening, and — {zveeps). 

Phyllis (helping her to rise). There, there. Aunt Alice. 
Come along and help us dress. (Mrs. B. and Phyllis 
follow Carolyn up the stairs.) Pretend that it's a cere- 
monial ball and that the Castleman daughters are to set the 
pace. 

Kitty. Phyl? (Goes to foot of stairs.) 

Phyllis ( turn ing ) . Yes ? 

Kitty. How'll I ever land a job if I appear in that 
dowdy old winter coat? 

Phyllis. Wait until my first check and — 

Kitty (impatiently). ^af^, nothing ! IMaybe the Dow- 
ager will help me out. 

Phyllis (losing her balance). Katherine Aldrich! 
Don't you dare to ask her ! 

Kitty. Don't fall ofif the stairway in your agitation. I 
don't intend to say a word to her — (to herself as she comes 
dozvn C.) but I'll get it just the same. (Exeunt Mrs. B., 
Phyllis and Carolyn up stairway.) 

Kitty takes a book and drops listlessly into chair back of 
table. After a moment, Belinda opens the door at R. cau- 
tiously, peers around and hurries to Kitty. 

Belinda (pulling a paper from under her apron). It 
was the Earl, Miss Kitty, just as we said it was ! 



22 THE SPELL OF THE IMAGE 

Kitty (tossing aside her book). How perfectly splen- 
did ! (Moves chair L. of table.) 

Belinda (at R. of table). An' when he had shot down 
ev'ry one of them robber pirates, he sprung upon a fi'ry 
charger what pranced him right up to the haunted house. 
Bang went the Earl upon the front door an' bang again. An' 
before he knowed what he was doin' he seen the face of his 
hated rival. "Where is the Lady Gwendoline?" sez the Earl 
in a voice of thunder, ''Where is the Lady Gwendoline? 
For her an' her only shall be my bride!" (Reads from 
paper.) An' the rest of this thrillin' an' fascinatin' romance 
will be found in the next number of the Homeside Com- 
panion! 

Kitty. Wonderful ! 

Belinda. Ain't it tho'? (Dreamily.) An' the Lady 
Gwendoline had gold hair, sapphire eyes, ruby lips an' pearl 
teeth ! 

Kitty. What a jewel of a girl ! 

Belinda. An' somethin' excitin' happened to her ev'ry 
single day. (Pauses.) Miss Kitty? 

Kitty. Yes. 

Belinda. Do you think anythin' excitin' will ever hap- 
pen to me? 

Kitty. I'm sure of it. Something beautiful and myste- 
rious happens to everybody some time or other. 

Belinda (at front of table, facing audience). But a or- 
phant don't stand much chance an' when you don't see 
nothin' but pots, pans an' kettles, it sorter makes you feel 
discouraged like. An' I ain't got gold hair an' sapphire eyes 
an' ruby mouth an' pearl teeth. 

Kitty (rising and crossing to her). I know just how 
you feel, Belinda — for I feel that way myself and if I didn't 
believe that there was something back of my pots, pans and 
kettles, I'd — well — I just couldn't stand it. 

Belinda. Honest, Miss Kitty? 

Kitty. Honest, Belinda. (Whispers.) I'm romantic — 
there! I've never told it to anybody but you and nobody 
suspects. 



THE SPELL OF THE IMAGE 23 

Belinda. I'll never tell, Miss Kitty, an' I'll just go on 
believin' that somethin' wonderful is goin' to happen to you 
an' to me. (Anxiously.) You ain't got no hidden secret, 
:\Iiss Kitty? 

Kitty. Not a bit of a one. But the house has. 

Belinda. This house? 

Kitty (dramatically) . This very house. Somewhere — 
and nobody knows just where, sJie (motioning to picture) 
hid a string of pearls — long, long ago. Years and years and 
years have passed — but some day they'll be found ! 

Belinda (in an agony of excitement). Here? Here? 
Oh Miss Kitty ev'ry mornin' now I'll be thinkin' that may- 
be I'll find them pearls. Ain't it thrillin'? 

Kitty. And mysterious ? Didn't I tell you that we don't 
have to live in an everyday world unless we choose ? ( Tele- 
phone rings. Kitty turns to it and Belinda looks cautious- 
ly around, hunting for pearls.) Yes? Oh, hello, Mac! 
They're here now but they're going to the Symphony. — Oh, 
not right away. — No, I'm doing the Cinderella stunt — wasn't 
sufficiently urged, to be quite frank. — Of course, they want 
to see you — well come for a little while then. — Three min- 
utes? — Well, don't speed. Farewell. (Hangs up receivery 
crosses to foot of stairivay and calls.) Mac and Jack are 
on the way — will be here in three minutes. Hurry on down. 

Belinda (pointing to image). I'm scared of him — see 
how his eyes shine. 

Kitty. He used to scare me — but one day I turned the 
tables and slapped him. Nozv, he behaves himself. 

Belinda (crossing slowly to image). I'm 'most 'fraid 
to dust him. 

Kitty. Nonsense. Slap him every time you pass — and 
that'll help. 

Belinda (reluctantly). Well, I'll be goin' Miss Kitty — • 
(Turns toward door at R.) 

Kitty. Pleasant dreams to you. 

Belinda. An' may somethin' real excitin' happen to you 
— tonight! (Walks slowly to R.) 



24 THE SPELL OF THE IMAGE 

Kitty. Not much chance for tonight, Belinda, but here's 
thanking you just the same. 

Exit Belinda — a great noise follows; she pushes her 
Jiead in the doorway. 

Belinda. 'Taint nothin' but the step-ladder, Miss Kitty. 
It didn't hurt. (Exits R.) 

Carolyn and Phyllis, in evening gowns, come slowly 
down the steps, and make a deep curtsey before Kitty. 

Phyllis and Carolyn. How do we look? 

Kitty (critically). You'll do. (To Carolyn.) Shades 
of a hipless yesterday, Carol — ain't you that beruffled? 
(Turns to Phyllis.) And as to you, Phyl — well, there's 
more or less of lace, little or nothing of chiffon — and a great 
deal of imagination. (Bell rings.) There are the boys! 
Shall I play maid? (Phyllis moves R. of table — Carolyn 
stands L. of table.) 

Kitty goes out L. 2 E. and immediately ushers in Mac- 
Donald and John. 

Kitty. Sure and the young ladies are just that crazy to 
see you, being that they're dolled up in their glad rags ! 
(Seats herself on stool at back of stage.) 

MacDonald (shaking hands zvith Carolyn). Hail to 
the emancipators of the Weak and Timid Sex! (Takes 
Phyllis' hand.) 

John (doing same). And to the fair examples of the 
new femininity — greetings ! 

Phyllis. Fortunately, the new femininity does not need 
gentlemen of leisure to act as analysts, interpreters, apolo- 
gists or critics. Sit down — both of you — and try to appreci- 
ate the situation. (Sits R. of table zvith Carolyn L. of 
table.) 

MacDonald (sitting at R. 2 E.). We do appreciate the 
situation — it's dazzling! (John crosses and sits on settee.) 

Carolyn. When will you learn, Mr. MacDonald Dun- 
bar that compliments are not at all necessary to the welfare 
of the young woman with modern tendencies? 



THE SPELL OF THE IMAGE 25 

MacDonald. When? Never. Show me the fair maid 
to whom a compHment is a bore — and — 

Kitty {quickly). You'll sw^allow your words? Don't. 
They might be indigestible. 

Mrs. B. {from above). Katherine ! Will you come here 
just a moment ? 

Kitty {rising). Yes, auntie. {To the others.) When 
you're through wrangling, I'll be the dove of peace and de- 
scend. {Exit up stairway.) 

Phyllis. Were you at political headquarters today, Jack? 
I thought I saw you surrounded by a constituency of ex- 
cited section hands. 

John. You did ! 

Carolyn. Running for office — or merely profifering legal 
advice ? 

John. Neither. I'm just interested in politics — politics, 
pure and simple. 

Phyllis. Dear me ! I didn't know that politics could be 
pure — and they certainly haven't the reputation of being 
simple. 

MacDonald. Tell what we're doing. Jack. 

Phyllis {quickly). Wcf So you're in it, too! How 
do you like the role of busy bee ? 

MacDonald. So well that, in time, I hope to sting as 
well as you. 

Carolyn (hastily). Don't mind the interruption. Jack — 
but go on with the story. 

John. Well, we're supporting the candidate who is run- 
ning against Carter. 

Carolyn. You can't possibly win over Carter — he's by 
far the most prominent man in the city and controls most 
of the votes. 

]\IacDonald. Also most of the corruption. Granting 
all this, we still intend to give him a run for his money. 

Phyllis. In a way, he's a good citizen, isn't he? Sub- 
scribes liberally to charities, is public spirited, and has 
built up his perfectly good department store through his 
own efforts. 



26 THE SPELL OF THE IMAGE 

John. That's the trouble. He expands in all directions, 
smoothly and quietly handles the political boss of the dis- 
trict — and we can't find a definite thing against him. 

Phyllis. He's a comparatively new resident, isn't he? 
Where was his former home? 

MacDonald. That's just it. We don't know — we can't 
find out — and if we could, we'd doubtless discover a flaw 
in his spotless past. 

Carolyn {mockingly). Politics — pure and simple! 

John. Then why don't you two enter the arena and 
show us a thing or two? 

Carolyn. Perhaps we shall — in time. The qualities 
which make for leadership, strength and combativeness are 
strong in the American woman. 

Phyllis. And, I may add that the American woman 
will inevitably win suffrage — because the world needs her 
peculiar gifts and her special abilities. 

Carolyn. Why the vote in itself is no end. But to 
serve the community in our own way is the goal toward 
which we are all striving. 

MacDonald (rising and crossing to L.). Perhaps all 
this self-assertiveness, this independence is due to the good 
nature of us American men. 

Carolyn. Oh, no, it isn't. It's an inheritance from those 
days when our great grandmothers shared all hardships and 
dangers with men. These same great grandmothers weren't 
merely models of domesticity as they are represented ; they 
were strong-willed, efiicient, with an unquenchable spirit. 
I resent the tales of their docility, their helplessness and 
their gentle forbearance. 

Kitty descends the stairs. 

John X^ooking up at her). Descend, oh, dove of peace — 
we need you ! (Rises.) 

Kitty. I thought you would — also the good coffee I'll 
soon have ready in the dining room. Come along! (Evit 
atR.) 

^ John (offering his arm to Carolyn). Shall we? (She 
rises.) 



THE SPELL OF THE IMAGE 27 

Carolyn (as they move off). If I were cruel enough 
to say no, which would win — the coffee or I? {They pass 
out at R., Phyllis starts to follozc them, MacDonald 
crosses quickly and holds her hack.) 

Phyllis {in surprise). Well? 

MacDonald. Phyl, is it true that you've applied for a 
position on the Star? 

Phyllis. It is. Who keeps you so splendidly informed 
of my movements? 

MacDonald. Please don't do it, Phyl — please let me 
take care of you. 

Phyllis. Oh Mac, Mac — must we go all through with 
that, again? It's so useless. 

MacDonald. Not half so useless as your struggling 
along when I have money going to waste and a heart that's 
been waiting for you — since we were kids together. 

Phyllis. You don't understand, do you — or is it that 
you wont? Now listen. I don't want anyone to take care 
of me — for I prefer to take care of myself. I don't care 
to marry, and if I did, I shouldn't mai^ry you. Is it clear? 

MacDonald (resting on edge of table). Clear, but not 
final. Do you object to telling me just why I don't qualify? 

Phyllis. Not in the least. The first reason is the fact 
that I don't love you — in the way you wish. 

MacDonald. I'll make you. Try me and see, (Takes 
her hand.) 

Phyllis (zvithdrazving it). And thereby lose the very 
good friend wdio has always meant so much to me? No, 
MacDonald, no. 

AIacDonald (grimly). Goon. (Crosses to L.) 

Phyllis. Then — as I've said before — I don't believe 
that any woman should be a financial burden to her hus- 
band. (Seats herself R. of table.) 

MacDonald (seating hiiuself L. of table). Financial 
fiddlesticks ! Do you suppose any self-respecting husband 
will allow his wife to be — economically independent? 

Phyllis. I can't answer for the self-respecting husband 
but that is what every self-respecting wife will demand. 



28 THE SPELL OF THE IMAGE 

MacDonald. Tommyrot ! 

Phyllis. Oh, sneer if you wish — but, before long, you'll 
be forced to acknowledge that economic independence is a 
domestic problem that overshadows a multitude of others ; 
a problem whose solution is not yet clearly realized. 

IMacDonald (sighing). Thank heaven for any delay. 

Phyllis. INIarriage should be a partnership — financially 
and intellectually. 

MacDonald. Even to equal responsibility in the pay- 
ment of the grocery bill, I suppose. 

Phyllis. I am dealing in broad generalities, ^lac. 

MacDonald. Which are theoretical, not practical. Well 
— fire away. 

Phyllis. I don't want my husband — that is, of course, — 
if I should ever marry — for of course I don't want to 
marry — but if I should — 

MacDonald. I get you. 

Phyllis. To regard me merely as one who must be 
supported. I desire that my intelligence and my capabilities 
shall be used — in conjunction with his — for a common ob- 
ject. 

]\IacDonald. Has it ever dawned upon you that the 
aforesaid intelligence and capabilities might be used in the 
home ? 

Phyllis. The home is always the first consideration. 
But — on the other hand — woman's work will never assume 
dignity and importance until it is measured and compensated. 

MacDoxTALd. I don't know what you mean — neither do 
you — so let's pass on to the next pleasant point. 

Phyllis. Well, a very serious obstacle is the fact that 
you're good for nothing. 

MacDonald (angrily). Look here, Phyl — a man can't 
take everything. (Rises.) 

Phyllis (calmly). You asked me for reasons. Pm 
giving them. 

IMacDonald. Are you insinuating that I don't work? 

Phyllis. Cutting coupons I shouldn't call strenuous ex- 
ercise. 



THE SPELL OF THE IMAGE 29 

MacDonald. Looking after my interests requires time 
and — pardon my presumption — brains ! {Leans over table.) 

Phyllis. They're not really your interests, Mac — your 
father started them for you and left them for your benefit. 

MacDonald. I don't see your point. (Seats himself 
again.) 

Phyllis. You don't know the joy of creation — the 
power of struggle — the glory of achievement. Things have 
been made so very, very easy for you. 

]\IacDonald. How am I responsible for that? What 
chance have I had — here ? 

Phyllis. The same chance that helped your father build 
a splendid fortune — that made him a civic power — that 
brought him the lofty position which his son should now 
be occupying. 

MacDonald. The town could never mean to me what 
it did to dad, Phyl. 

Phyllis {leaning forward). But it should mean as much, 
— and indifiference has been your greatest mistake, Mac. 
You came back from your exclusive college and your exclu- 
sive set and you found us a little crude, a little provincial 
when compared to the gay people you had known. {He pro- 
tests.) Oh, yes you did! You missed your leisure class — 
you accepted your money as a matter of course — and while 
you played, Henry Carter rose by work and persistency to 
the very place that your father occupied — and that should 
have been yours. 

MacDonald. If dad had left me a definite business, 
Phyl — it would have been different. 

Phyllis. What did he leave you? 

MacDonald. Stocks and bonds — 

Phyllis. Intangible, naturally. 

IMacDonald. Property — 

Phyllis. Yes, of course — 

MacDonald. The Clarion — 

Phyllis {in great astonishment) . What? {Rises.) 

MacDonald {rising). The Clarion. Dad owned prac- 



30 THE SPELL OF THE IMAGE 

tically all the stock though it was a silent ownership and he 
never attempted to dictate the policies of the paper. 

Phyllis. Why MacDonald Dunbar ! 

MacDonald incoming forward). What's the matter 
now? 

Phyllis. Pm stunned, that's all. To think that you own 
a newspaper — a big thriving newspaper — and are content 
to let another man act as its authority. 

MacDonald. I can't write. 

Phyllis. I thought you shone on the college paper. 

MacDonald. Amateur work only. 

Phyllis. Amateur work leads to professional — and, at 
any rate, you can manage. 

MacDonald. Well, I can manage one thing all right — 
to get you on the staff, if you still insist upon entering this 
particular field. 

Phyllis. I am planning to apply at the Clarion office 
tomorrow. 

MacDonald. It won't be necessary. A note to my man- 
aging editor — 

Phyllis {interrupting). No, thank you. 

MacDonald. What ? 

Phyllis. No, thank you. Please make no move in my 
behalf — for I prefer to rely upon my own efforts. 

^IacDonald. Now Phyllis, that's one of your ridiculous 
independent notions — {Puts hand on her shoulder.) 

Phyllis. Even as such it demands your consideration. 
Shall we join the others? {They start tozvard the door at 
R.; suddenly Phyllis turns impulsively.) Oh, Mac, Mac! 
You'll never find happiness in the easy-going life you've 
chosen. You'll never know the inspiration of fighting and 
Avinning ! Don't waste your opportunities ; make something 
of yourself ; be true to all the splendid courage and purpose 
that is in you. 

MacDonald {after a pause as he takes her hand). By 
Jove, Phyl — I will! {Exeunt R.) 

Kitty steals quietly dozvn the steps, carrying a disreput- 
able looking hat and coat. From the pocket of the coat she 



THE SPELL OF THE IMAGE 31 

pitlls a pair of old gloves with a needle and thread in one 
finger, throzcs them on the table, lays the coat and hat on 
chair R. of table and is about to zvitJidrazu to the dining 
room zvhen tJie door at L. 2 E. of table suddenly opens and 
]\Irs. Van Alstyne enters. 

Kitty {in surprise). Why Aunt Letitia! How you 
startled me. {Crosses to her.) 

Mrs. V. A. You deserve to be startled ! — I found your 
front door unlocked — open — just an invitation for anybody 
to walk in and help himself. Of all the irresponsible, im- 
possible households, this is the worst. Suppose some tramp 
had made away with — (sarcastically) all the Castleman heir- 
looms ! 

Kitty. I'm to blame, x\unt Letitia, for I must have for- 
gotten to close the door when the boys came. But if you 
knew how I'd kept it barred and bolted and hadn't even 
answered the bell for the last week, you wouldn't call me 
careless. (Pushes her on settee.) Now sit right there — 
catch your breath — and let me get you a pillow (puts pillozv 
at back) and a footstool — (runs to stool and brings it) 
and throw back your coat — so! (Raptitroiisly.) Oh, what 
a pretty coat — and gown — and — oh, Aunt Letitia, your taste 
is simply exquisite ! Whenever you choose clothes for me, 
I always feel that they're just right. (Clasps hands.) 

Mrs. V. A. (highly gratified). And I enjoy choosing 
things for you, Katherine. Someway, you've always seemed 
more like an Aldrich than Phyllis — 

Kitty. How adorable of you to say so. {Turns to R.) 
By the way, Phyl and Carol are in the dining room with the 
boys. Shall I call them? They're all ready except for their 
wraps. 

Mrs. V. A. Then don't call them — yet. It's quite fashion- 
able to arrive at the concert a little late, so I'll chat a few 
moments with you. 

Kitty (gushingly) . How dear and thoughtful you are, 
Aunt Letitia ! (Seats herself L. of table.) While we talk 
you don't mind if I mend my gloves, do you? (Takes 



32 THE SPELL OF THE IMAGE 

gloves.) I have the wiggly-est fingers — nothing stands in 
their way. {Mends glove.) 

Mrs. V. A. {using' lorgnette). Katherine Aldrich! You 
don't mean to say that you wear those things ! 

Kitty. Oh, Aunt Letitia, they're my best. Of course 
they are a Httle forlorn now, but just wait until my magic 
stitches pull them together. 

Mrs. V. A. They're disgraceful ! 

Kitty. Oh, I manage beautifully ! By thrusting one hand 
carelessly into the front of my coat and sticking the other in 
my pocket, nobody suspects. {Shivers.) Ugh! It seems 
chilly in here — I believe I'll slip on my coat. {Puts on coat.) 

Mrs. V. A. {after staring at coat). Katherine! Of all 
the monstrosities in the way of coats this is the worst ! 

Kitty {slowly revolving) . It does look as if it had sent 
regrets, doesn't it? But it's warm — and if a person is warm, 
she shouldn't worry about style. {Puts on hat.) Hozv do 
you like my hat? 

Mrs. V. A. I prefer to be excused from answering that 
question. 

Kitty. I made it myself. 

]Mrs. V. A. That is quite evident. 

Kitty {plaintively). Oh, Aunt Letitia — doesn't it — 
doesn't it — look all right ? 

Mrs. V. A. It looks like — His Satanic Majesty, my dear. 
Now listen to me. Throw those gloves into the waste bas- 
ket ; give that hat and coat to your foolish looking maid ; 
and tomorrow, we'll see what we can do in the way of a 
winter outfit. 

Kitty {rushing to her). Oh — Aunt Letitia — you don't 
mean — new clothes! {Sits by Mrs. V. A.) 

Mrs. V. A. Of course, I mean new clothes. Do you sup- 
pose I'll allow any Aldrich to look like a scarecrow? You 
wouldn't have been brought to this predicament if your poor 
dear father had married a wife instead of a family tree. A 
few grains of common sense and a sprinkling of practicality 
are of more value than a dozen ancestral portraits and a 
hundred pearls that may have been paste for all you know. 



1 



THE SPELL OF THE IMAGE 33 

Enter Phyllis, Carolyn, John, MacDonald from R. 

Phyllis (hurrying to her). Why, Aunt Letitia! I had 
no idea you were here. We won't keep you waiting a mo- 
ment. (Carolyn greets Mrs. V. A.) Good-bye boys — we'll 
see you tomorrow — and good luck to the campaign. Come, 
Carol! {Exeunt Phyllis and Carolyn upstairs.) 

John {zvith outstretched hand). Well, if it isn't ]\Irs. 
Van Alstyne ! Looking as young as she did in my childhood 
days. {She takes his hand.) 

^Irs. V. A. {shaking finger at him). When I caught you 
stealing apples, you young scamp. I see you haven't lost 
your smooth tongue. (John joins Kitty zvho is standing 
hack of chair L. of table.) 

MacDonald {advancing). He needs it in politics. 
{Holds out hand.) Howdy-do! 

Mrs. V. A. MacDonald Dunbar! {Shakes his hand vig- 
orously.) 

MacDonald. Now don't scold me for not calling, for 
I'm coming this very week. {Stands at her left.) 

Mrs. V. A. Thursday's my day. 

]\IacDonald. I sha'n't forget. Come Jack — and good- 
bye Kit! {Exeunt MacDonald and John at L. 2 E. after 
making adieiix.) 

Mrs. V. A {in a whisper). Katherine, does Phyllis in- 
tend to marry young Dunbar ? 

Kitty {szveetly). There's a Ouija Board somewhere 
around. Shall we ask it? {As Phyllis and Carolyn de- 
scend the stairs.) Here Phyl — let me straighten your col- 
lar. {Straightens collar.) — and Carol — {arranging her 
scarf) — I'll adjust your scarf. {Embraces Mrs. V. A.) 
Aunt Letitia, you're a dear — and {whispers) I'll see you 
tomorrow! Good-bye, all of you — and be careful not to 
snore. It isn't being done at the best symphonies this year ! 
{Exeunt Phyllis, Carolyn and Mrs. V. A. at L. 2 E.) 

(Kitty moves leisurely about the room, closes the window, 
turns out some of the lights, yazvns, slaps the image as she 
passes it, takes a book and sinks into a large chair L. of table. 



34 THE SPELL OF THE IMAGE 

She reads for a moment, then yawns again — nods — and 
finally falls asleep.) 

Curtain is lowered for a moment to indicate a passage 
of several hours. 

{As the curtain rises again, a succession of short, sharp 
sounds is heard. Kitty wakens, startled. In a fczv mo- 
ments comes a knock on the window. Kitty approaches 
the zvindow hesitatingly.) 

Kitty. Who's — who's there ? 

Voice Outside. Just a somebody whose car has gone 
back on him and who would be asking the loan of a monkey 
wrench. 

Kitty (still hesitating). Who — who are you? 

Voice. A stranger in these parts. 

Kitty hesitates, then throzvs open the zvindozv. Terrence 
steps over the sill, looks at her in a hezvildered fashion and 
slozvly takes off his cap. 

Terrence {after a long pause). Sure, and I didn't know 
that the purple ribbon of a road would lead me straight into 
the enchanted land. {As Kitty drazvs back.) Oh! I've 
frightened you — and it's just my Irish blood that runs away 
with my tongue and keeps me walking with my head in the 
clouds. 

KiiTY. I — don't understand. 

Terrence. Sure and it's no wonder that you don't — so 
that's why I'd be explaining to you and asking your pardon 
a thousand times for disturbing you at this time of night. 
When the car came to grief I saw the light shining through 
the window and didn't stop to think how monstrous a thing 
it was to be descending upon a stranger sudden like and 
unannounced. {Bozvs.) Once more my apologies — and 
good-night. {Starts to go.) 

Kitty. But don't you want the monkey wrench? 

Terrence. Well, I wouldn't be troubling you for the 
world. {Stands by settee.) 

Kitty. It's no trouble — {goes to table and opens drazver) 
for auntie keeps it here — and it isn't often that a monkey 



THE SPELL OF THE IMAGE 35 

wrench has a chance to act as an opening wedge to — Ad- 
venture ! 

Terrence (eagerly). And what is it you'd be calHng — 
Adventure? (Comes to her and takes monkey wrench.) 

Kitty. Adventure? It's just a bright feather in the cap 
of Everyday — 

Terrence (leaning tozvard her). Faith and it's so bright 
that half the people don't see it. Why the foolish things 
don't even know that Romance is waiting just round the 
corner. 

Kitty (crossing to settee). Oh, do you feel that way, 
too? (Sits.) And are you always expecting something 
beautiful and exciting — and mysterious — to happen? (He 
follozi's and stands back of her.) 

Terrence. Sure and that's the Irish in me. 

Kitty. And do you ever want to break away from stu- 
pid, prosy everyday things? 

Terrence (eagerly). And ride far, far into the purple 
veil of the dark — with the pipes o' Pan to guide you — with 
a swish of gypsy wind on your face — and a twist of moon- 
light road to lead you into the Land of Dreams? 

Kitty (excitedly clasping her hands). The Land of 
Dreams! Oh, you do understand, don't you? (Rising and 
curtseying.) I'm glad to meet you, Adventure — you've 
been a long time coming my way ! 

Terrence (looking steadily at her). And I've been look- 
ing for you, all my life — Dream Princess ! 

Kitty (crossing and looking up ivhimsically at the por- 
trait). Oh, what are you thinking of me, you prim, precise, 
prunes-and-prisms thing! Even if Adventure does come at 
an unconventional hour — and isn't properly introduced — 
do you think for a minute that I'd send it away? 

Terrence (follozving). Does she feel like that, about it? 
Well then — Adventure will produce proper credentials — 
and will confess to an earthly habitation. (Hands card to 
Kitty.) 

Kitty (reading). Terrence Donovan. (MiscJiievonsly.) 
And sure, I'm wondering from what country you come ! 



36 THE SPELL OF THE IMAGE 

Terrence. Whisht — and did you ever hear of a little 
emerald isle where the fairies weave their magic — where 
the wishing wells are as thick as star dust — where the lakes 
flash like silver in the sunlight — and where the elfin folk 
leave shamrock footprints? (Kitty gazes at him as in a 
dream, then suddenly remembers herself.) 

Kitty (reading). University Club, New York City. 
(Sighs.) TJiat doesn't sound like an Adventure! Some- 
way I imagined you a knight errant, roving from point to 
point, and doing all sorts of thrilling and wonderful things. 

Terrence. Even an Adventure has to live. (Comes 
nearer.) You don't mind it's being an electrical engineer 
occasionally, do you? (Suddenly.) By the way, has the 
Dream Princess a name? 

Kitty. It isn't a dreamy one — nor a princessy one — but 
Katherine Aldrich is the best I can do. (Curtseys.) 

Terrence (softly). Faith and it's Kitt^ that suits you 
— with the saucy smile and the roguish Irish eyes of you ! 

Kitty. And has electrical engineering brought you down 
to the need of a monkey wrench? 

Terrence. Asking your pardon again. Dream Princess, 
it's your very bad road along with my own carelessness that 
caused my downfall. I was driving recklessly along, think- 
ing of — 

Kitty (quickly). Fairies, wishing wells and — dream 
lands? 

Terrence. No. (Grimly.) Of revenge! 

Kitty (in surprise). Revenge! 

Terrence. I've been hunting a man — for weeks — and 
he's escaped me. 

Kitty. An enemy? 

Terrence. An enemy — of my father ; one who ruined 
him — disgraced him — years ago. I was just a kid then but 
I vowed I'd find him — and bring him to justice. 

Kitty (coming nearer). Is there no chance for for- 
giveness ? 

Terrence. Not a chance. For it killed my dad. (Chang- 
ing his tone.) But why am I telling you all this, Dream 



THE SPELL OF THE lAIAGE 37 

Princess — and why am I lingering when I should be on my 
way — and — why, lots of things! {Eagei^ly.) May I be 
coming again ? 

Kitty {coyly). Well it's proper to return borrowed 
articles — and there's the monkey wrench, you know. 

Terrence {looking at it). Faith and it's not a monkey 
wrench to me — it's a key to the future. 

Kitty {demurely) . Then don't you think you'd better 
keep it? It isn't ever wise to be without a key. 

Terrence {softly). May I? {Motor horn sounds.) 
What's that? 

Kitty. My sister and aunt returning from a concert. 
Will you meet them? 

Terrence. \\^ould they look upon me as an — Adventure ? 

Kitty {shaking head). No, I don't think they would. 
I'm quite sure my aunt wouldn't. 

Terrence. Then I'll be on my way. {After a pause.) 
Good-bye, Dream Princess. {Holds out his hand.) 

Kitty {taking it). Good-bye, Adventure! {Exit Ter- 
rence througJi zvindow. Kitty stands at the zvindozv look- 
ing after him.) 

Enter Phyllis and Carolyn at L. 2 E. 

Phyllis. Kitty! Why are you staying up so late? And 
why is that window open? Anyone could enter without 
your knowledge. 

Carolyn. And what are you looking at? {Crosses to 
windozv.) W^hy, Phyl — there's a man working on the road- 
ster we passed a moment ago. (Phyllis joins her.) See? 
Why I do believe he's staring at us ! 

Kitty {closing zvindozv). Well I can't have that, — gaz- 
ing at a man to whom you've not been properly introduced ! 
{Pushes them from zvindozv.) I fell — asleep — here — so 
that's why I did you the honor of waiting your return. 'Twas 
quite unintentional. How was the concert? {Perches on 
arm of chair L. of table.) 

Phyllis {sitting R. of table). I've never seen lovelier 
gowns — have you Carol? 



38 THE SPELL OF THE IMAGE 

Carolyn (on arm of settee). Never. And jewels! 
The house twinkled like one big bright star. 

Kitty (sarcastically). Dear me ! How foolish for them 
to have a program at all ! Or zvas there a program ? You 
didn't mention any music — so maybe you forgot to notice. 
(Telephone rings and she starts up.) I expect that's for 
me! 

Phyllis (taking telephone). For you? Who on earth 
would be calling you at such an hour ? Probably the wrong 
number. (At telephone.) Yes? — MacDonald ! Why what's 
the matter? — Please say that again — Do you mean it — 
really? — IMac, you don't know how happy that makes me — 
and how proud. — Of course PU help you — and Pll report 
tomorrow. (Hangs up receiver and turns excitedly.) Mac's 
done it — Mac's done it ! 

Kitty (at L. of table). Done zvhatf Proposed again? 

Phyllis. Better than that ! He's taken over the man- 
agement of the Clarion — and we're going to work on it — 
together! (Throzvs arms about Kitty.) 

Curtain. 



Act II. 



Scene: The Clarion office. Practical door at R. U. E. 
to office and at L. U. E. to hall. IVindozv C. in F. Hat 
tree zvith several hats and a cap at R. U. E. Chair L. of 
hat tree. Large desk zvith papers, telephone, etc., R. 2 E. 
Chairs R. and L. of desk. Typewriters and typewriter 
chairs at L. 2 E. and up stage L. of C. Papers scattered 
over floor. 

At rise, Ted is standing at L. reading; Lester is seated 
at desk and Fredericka is standing at L. of table. Stage 
is well illuminated. 

Lester (holding out copy). Here Ted — take this to 
the pressroom. (Ted takes copy and goes out at L. U. E.) 
Clever piece of work Miss Farr. 

Fredericka. Praise from a managing editor, Mr. Ross, 
is the first goal of an ambitious journalist. 



THE SPELL OF THE IMAGE 39 

Lester. Indeed ! Your remark gives me an opportunity 
of asking just why one of your marked ability is satisfied 
with a reportorial position upon a small city paper. 

Fredericka. Did I express myself as satisfied? 

Lester. In a large city — New York for example, you 
could— 

Fredericka (interrupting). New York — in time; but, 
for the present — here. Don't worry about my ambition, Mr. 
Ross, for it is just as colossal as that of the great financier 
who granted me the interview. 

Lester. By the way — how did he happen to grant it? 
And how did you happen to know that he was here? 

Fredericka. ]\Iy lucky star — as usual — for I saw him 
enter the hotel — and recognized him. Even the assumed 
name under which he registered didn't deceive me — and in 
due time I sent up my card. 

Lester. But he abhors interviews. 

Fredericka. I tactfully scribbled on my card that I was 
a friend of his daughter. (Laughingly.) — I did know her — 
over the telephone — when I was on the society column in 
her city. 

Lester. And he fell for it? 

Fredericka. He certainly did. After I had extracted 
all the information I desired, I broke the news of my pro- 
fession — and — (hesitates. ) 

Lester (eagerly). Yes? 

Fredericka. Well — for a moment he was stunned — then 
he threw back his head, laughed loud and long, took the 
blow like a good sport — and invited me to lunch. (Pauses.) 
I went ! 

Lester. All of which goes to prove — 

Fredericka (seating herself L. of table). Two things — 
(emphatically) two things I say. First, that stratagem is a 
very necessary asset of a successful reporter; second — that 
any man is as clay in the hands of a clever woman, provided 
she is arrayed in a good looking suit, understands the art of 
flattery, and uses her eyes — with discretion. 

Lester. Anyway it's a good scoop for the Clarion. 



40 THE SPELL OF THE IMAGE 

Fredericka. And it's quite evident that the Clarion needs 
a scoop of some kind, in order to revive its waning per- 
sonahty. 

Lester. I don't understand. 

Fredericka. Oh, yes, you do. You know just as well 
as I that this young millionaire is playing a trifle too vigor- 
ously with his new toy {leaning forward) and that it's 
bound to break. 

Lester. I'll take issue with you on the word playing, 
Miss Farr. I thought so, myself, at first ; in fact we all 
believed that Dunbar was showing only a passing interest 
in his property and that the novelty would soon wear off. 
But we've changed our minds. 

Fredericka {sarcastically). Indeed! 

Lester. For he's proved that it's a vital matter to him 
and that he's earnestly and sincerely trying to make his 
paper a public institution which shall stand for the best 
things and which isn't afraid to buck up against municipal 
evils. 

Fredericka. And which professes to apply an ethical 
test to all its dealings. It isn't the millennium yet — Mac- 
Donald Dunbar can't conquer the combination of business 
and politics — he can't prove an obstacle to Henry Carter. 
So, as a result, it will be — good-bye. Clarion! 

Lester. You forget that Dunbar has an independent for- 
tune. 

Fredericka. How much do you suppose he'll devote to 
the cause of a newspaper that brings no return and is no 
source of income? 

Lester. On the other hand, if he can hold on until the 
tide turns, if he can defeat Carter, — if he can carry on his 
plans — he — 

Fredericka {rising). If — if — if! That seems to be 
the most important word in your vocabulary, at present. 
{Crosses to typezvriter up stage and seats Jierself.) 

Lester. Except success. Wait until our guns volley it 
forth. 



THE SPELL OF THE IMAGE 41 

Fredericka. Does the entire staff expect such a mes- 
sage? 

Lester. It does ; for we all have faith in the man behind 
the gun. 

Fredericka {insinuatingly). What about the girl be- 
hind the man behind the gun? 

Lester. I beg your pardon? 

Fredericka. You know what I mean — Phyllis Aldrich. 
The swish of a skirt is the dominant note in this office, at 
present. 

Lester. Miss Aldrich holds merely the position of a 
reporter. 

Fredericka. Oh, does she ! I fancied that she had a 
hand in dictating the policy of the paper. 

Lester {rising and crossing to her). Stop right there. 
Miss Farr — if you mean that Dunbar is swayed by his 
friendship with Miss Aldrich. For his ideas are his own ; 
he's a man in the truest sense of the word ; and if he is try- 
ing to make this a clean paper — by Jove, we'll stand by him. 

Fredericka {airily). Count me out, Mr. Ross — count 
me out. {Rises.) I consider my own interests — and only 
my own interests. If I had stopped to measure all my ac- 
tions by your ethical standard, I'd not be — where I am. 
{Goes to hat tree and puts on hat and coat.) 

Lester. You mean — {Returns to desk.) 

Fredericka. Just what I've said — 

Enter MacDonald flnd Phyllis, L. U. E. 

Fredericka. And now I'm off. Just in time to say good- 
morning to the firm. {Exit L. U. E.) 

Phyllis {looking after her). Now what did she mean 
by that? {At C.) Mac, I don't hke her. 

MacDonald. Nonsense. She's the cleverest woman on 
the staff — isn't she, Ross? 

Lester. Undoubtedly. She's just handed in an interview 
that's a downright triumph for the Clarion. 

MacDonald. You see, she's so everlastingly pretty that 
nobody suspects her cleverness ; so, before the victim real- 
izes his mistake, the desired information is in her hands. 



42 THE SPELL OF THE IMAGE 

Phyllis {coolly). From your trend of speech, I judge 
that the victim is usually a man. 

Lester. Quite so. She twists him around her little finger. 

Phyllis. And throws her eyes around his neck. I know 
the type. {Crosses to typezvriter L. 2 E., seats herself and 
throzvs off coat.) 

MacDonald {crossing to hat tree). Good gracious, 
Phyl — you sound like any other woman describing her best 
friend. 

Enter Burton from R. U. E. He hesitates as he sees them. 

MacDonald. Come on in. Burton ! {Hangs hat on tree.) 

Burton. I've some important business, Dunbar. 

MacDonald. Speak right out. Miss Aldrich and Mr. 
Ross are in my confidence. {Stands back of chair L. of 
desk.) 

Burton. It's about our advertising. 

MacDonald. Yes? 

Burton. It's shot to pieces — ruined — that's all. Carter's 
manager has just withdrawn his contract — and Carter was 
our biggest advertiser. 

MacDonald. Go on. {Drops in chair L. of table.) 

Burton. Other local firms are sure to follow suit — after 
what's happened. 

Lester {rising). Just to see where we stand, suppose 
we go back to the beginning of things. Your first offense, 
Dunbar, was backing the grading ordinance. 

MacDonald. An ordinance which was for the public's 
good, you must admit. 

Lester. Undoubtedly. But opposed by Murphy, polit- 
ical boss and also Carter's right hand man. 

MacDonald. We've talked that over thoroughly, I be- 
lieve. My only answer is — we still support the ordinance. 

Lester. Very well. Now your next move was upon the 
traction company — and it was regarded as a direct attack 
upon capital. 

MacDonald. Thanks to your bully editorials, Ross. 
{Grimly.) If I had it to do over, I'd take exactly the same 
stand. 



THE SPELL OF THE IMAGE 43 

Lester. And your constant opposition of Carter as a 
political candidate, is naturally an uphill proposition. 

MacDonald. No fight which isn't against heavy odds 
is worth the effort. 

Lester. Very true. But IVe merely mentioned these 
points as the reason for Mathews' discouraging report. 

MacDonald. Which report, in substance, is this. We 
must cater to the whims of the people who give us the ad- 
vertising — even if the people themselves are upholding the 
wrong thing. 

Burton. It's merely a matter of business, Dunbar. Our 
success depends upon that of our advertisers. Isn't it a 
natural inference that they should expect us to support 
measures which make for their welfare? 

Phyllis. Mr. Mathews has practical experience on his 
side, Mac — as opposed to your theory. Don't be impulsive 
— don't be carried away by a foolish notion ; don't — 

MacDonald (rising). Look here, Phyl — and listen. 
(To the others.) And listen, both of you! This is my 
paper — my paper, — and even if I manage it in the wrong 
way, it's got to be my way. It's the only big interest I've 
ever had — it's my interest, my fight! Why I'll hold on to 
it if it takes every cent I have — and if the Clarion goes 
down, I go with it. (Pauses.) Now, do you understand? 

Lester (coming around front of desk). It's what we've 
been waiting to hear — and it's just about as final a state- 
ment as we need. We're with you, Dunbar. (Holds out 
hand.) 

AIacDonald (taking it). You mean it? 

Burton (zvith hand on MacDonald's shoulder). To a 
man, all this preliminary has been merely a statement of 
facts. Now, we're ready for action. 

]\IacDonald. There's not much I can say to you fellows 
after this — 

Burton. Then don't try. (Turns.) Ross, can you 
spare me a few moments? There's some planning we must 
do. 



44 THE SPELL OF THE IMAGE 

Lester. I'll be with you right away — unless Dunbar, 
here — 

MacDonald. I'm off to Harlan. There are some securi- 
ties he must turn into ready money for me. (Goes out R. 
U. E. returning almost immediately with papers.) {Exeunt 
Lester and Burton L. U. E.) Keep office, will you, Phyl? 
I'll give you entire jurisdiction. 

Phyllis {coolly). Thank you — but I'm going out. 
{Rises.) 

MacDonald {helping her with coat). Then I'll give you 
a lift in the car. 

Phyllis. Thank you — but I prefer to walk. 

MacDonald {indifferently). Oh, very well — suit your- 
self. {Exits L. U. E.) 

Enter Kitty, L. U. E. 

Kitty. Newspaper work has a very bad effect upon 
manners. Mac used to be so polished that you could see 
yourself reflected — but now — well, he brushed past me in 
the hall and didn't take time to recognize me. {Hangs coat 
and hat on tree.) 

Phyllis {at C). Has it ever occurred to you that mat- 
ters more important than you may occupy his mind? 

Kitty. I presume you mean yourself. {Sits L. of desk.) 

Phyllis. Hardly. At present, my image is but a speck 
in Mac's kaleidoscopic mind. 

Kitty. That's what you've been trying to bring about 
for years, isn't it? Someway you don't appear hilariously 
jubilant over your victory. 

Phyllis {sharply). Never mind my affairs. What are 
you doing here? 

Kitty {opening notebook). I told you that in order to 
get experience, I am assisting the society editor. I took 
notes at the ball last night. 

Phyllis. Chiefly on the men — from all appearances. 

Kitty. Not at all. In fact, American men bore me ; 
foreigners are so much more fascinating. 

Phyllis {impatiently) . Kitty Aldrich, you've never met 
a foreigner. 



THE SPELL OF THE IMAGE 45 

Kitty (smiles mysteriously). 

Phyllis. Now why do you smile in such an aggravat- 
ing way. (SJiokes her.) I'm getting out of patience with 
you. A month ago you gave every evidence of becoming a 
well-poised, self-assertive woman — and now — well you've 
changed, that's all. 

Kitty. Well I've changed my views upon economic in- 
dependence, that's certain. At present, I'm perfectly satis- 
fied to accept a meal ticket for life — if I can get it. 

Phyllis. Kitty! 

Kitty. Making one's way is not so enchanting as you 
painted it. 

Phyllis {motioning to her paper). Surely, ]\Iac doesn't 
pay you for — thatf 

Kitty. No, he doesn't. I might take more interest if he 
did. 

Phyllis. You can't expect compensation while you are 
gaining experience ; you — 

Kitty {tauntingly). "Woman's work will never assume 
dignity until it is measured and compensated." Those are 
3-our own words ! 

Enter Ted L. U. E., reading. 

Phyllis. I don't feel like arguing, Kitty — and I've work 
of my own to do. {Turns.) Good-bye. 

Kitty. I've not heard of any scoop you've landed so far. 
(Phyllis glances at her scornfully and passes out.) Hello, 
Ted ! What are you reading ? 

Ted {at C). A detect-ufif story. 

Kitty {rising and crossing to him). Oh, I just dote on 
detective stories. {Takes the book.) Sherlock Holmes! 
Wasn't he a wiz ? 

,Ted. Gee! Why he could tell just where, a fellow had 
been by the dust on his shoes ; and just what he had been 
writing, by the ink spot on his finger ; and just what sort 
of a guy he was by the way he fixed his necktie. 

Kitty. Exactly. If I were a boy, I think I'd like to be 
a detective myself. {Hands back book.) 



46 THE SPELL OF THE IMAGE 

Ted (glancing around and whispering). Miss Kitty, I'll 
tell you something — if you promise never to breathe it. 

Kitty. Cross my heart and hope to die ! (Crosses heart.) 

Ted. Fm going to be a detect-uff! (Scornfully.) None 
of this newspaper stuff for me. 

Kitty. I should say not. Can't you practice your de- 
tecting here ? 

Ted (disgustedly). Nothing doing. Why, what I need is 
to be following 'round and shadowing people. Nobody here 
needs shadowing — they're all so darn respectable. 

Kitty (crossing to L. 2 E.). Dear me, Ted! Belinda's 
Homeside Companion, your detective stories and my own ad- 
venture make me forget that there's any such stupid thing 
— as (sighs) the society column. (Moves to typewriter.) 
I must get to work. (Seats herself.) 

Ted (follozving her). Who's Belinda? 

Kitty. My partner in romantic speculation. 

Ted. And what was your adventure? 

Kitty. Well — you see — somebody broke in the house 
and stole something. 

Ted (with interest). What did he steal? 

Kitty. A monkey wrench. 

Ted (scornfully). That wasn't anything. He couldn't 
have known much about swiping. 

Kitty. I think he stole something else, too — in fact, I'm 
quite sure of it. 

Ted. Gee ! But I'd like to be shadowing him. 

Kitty. Oh, so should I. (Dreamily.) Far, far into the 
purple veil of the dark, with the pipes of Pan to guide me, 
with the swish of gypsy air on my face and a twist of moon- 
light road to lead me into the Land of Dreams! (Gazes 
abstractedly into space.) 

Ted (anxiously, after a moment). What's the matter. 
Miss Kitty ? Anything gone to your head ? 

Kitty. Only to my heart, Ted. (Settles herself at type- 
writer.) Now, let me see. You push this down when you 
want capitals, don't you? (Ted nods.) And press on this 
to separate words — (Ted nods) and — . Ugh! I hate a type- 



THE SPELL OF THE • IMAGE 47 

writer, Ted. It takes all your pretty words and phrases and 
grinds them out in hard cold type that makes one's spelling 
and punctuation look like a crazy quilt. (Types for a mo- 
ment.) 

Ted {looking over her shoulder). Gosh — but that's 
mixed, Miss Kitty. 

Kitty {handing him notebook). Now you read it to 
me — while I write — (Points.) Here. 

Ted (reads). Mrs. Mont — Mont — (hesitates). 

Kitty (as she types). IMontmorency — 

Ted. Mont-mor-en-cy Du-pont's be-witch-ing beau-ty 
was set off by a gown of water-mel-on pink — 

Kitty. Wait until I catch up. (After a moment of 
typing.) Do you know what I'd like to write, Ted, and what 
would be really true? Just this — Mrs. Montmorency Du- 
pont's faded and wrinkled artificiality was increased by the 
gay color of a gown which would be too young for her 
daughter. (Pauses.) Well, go on! 

Ted (reads). Mrs. Reg-i-nald Van Tassel wore — (Tele- 
pJione rings.) 

Kitty. Let me answer It. (Crosses and takes up tele- 
phone.) Yes, this is the Clarion. — He isn't in — No, I don't 
know when — Who? Mr. Carter? — Come to your office? 
Since when has ]Mr. Dunbar been taking orders from you? 
— If you wish a conference I fear you must meet him here. 
— (Hangs up receiver.) 

Ted (at C). Gee — ]\Iiss Kitty — was that Carter — the 
big Carter? 

Kitty. The big Carter! Oh, Ted, I never thought of 
that — do you suppose it was? And the way I talked ! 
(Runs to zvindow.) His office is just across the street — 
and he'll be right over, for he was simply furious — and I 
don't wonder. (Suddenly.) I'll hide in Mac's office — for 
I just couldn't face him after what I've said — and if he 
should decide to wait, Ted — you come back to me when he's 
not looking ! (Goes in office R. U. E. and shuts door.) 

Ted hurries to zvindozv — leans out — and zvhile his back 
is turned, Carter enters at L. U. E. 



48 THE SPELL OF THE IMAGE 

Carter (looking around). Well, for the office of a 
booming newspaper, this seems fairly deserted. (Sarcasti- 
cally.) Are you the proprietor? 

Ted. I'm not Mr. Dunbar, if that's what you mean? 

Carter. Where is Mr. Dunbar? 

Ted. He's out. 

Carter. Everybody out? 

Ted (motioning). Mr. Ross and Mr. Mathews are 
across the hall. 

Carter (significantly). And Mr. Dunbar is in his office, 
isn't he? ■ 

Ted. No — he's not. 

Carter. Come now, my boy — if you'll show me into that 
room, I'll — (Shozvs dollar to hhn.) 

Ted. You can't buy me, ]\Ir. Carter, any more than you 
can buy Mr. Dunbar or the Clarion. 

Carter (angrily). You impudent httle rascal! Then 
I'll proceed to wait for your irreproachable master. (Scats 
himself L. of tabic.) 

Ted. Just as you please, sir. (Crosses to L. as if to 
leave the room — then turns, tiptoes to door of office and 
enters.) 

After a moment Fredericka enters at L. U. E. She 
starts as she sees Carter. 

Fredericka (withottt looking at him). Isn't it a bit — 
dangerous — to come here? (Comes dozvn L.) 

Carter (starting). I must see Dunbar. 

Fredericka. Dunbar is at present with his lawyer — John 
Harlan. 

Carter. Then — perhaps the coast is clear for a few 
words. 

Fredericka. Ross and Mathews? (Carter rises and 
goes to chair R. of desk.) 

Carter. Across the hall. (After a significant pause.) 
Well? 

Fredericka (quietly). The order for a large shipment 
of paper went out yesterday. A delay in delivery would be 
' — most inconvenient. (Seats herself L. of table.) 



THE SPELL OF THE IMAGE 49 

Carter. I understand. 

Fredericka. There is a noticeable falling off in the ad- 
vertising. 

Carter. Yes. 

Fredericka. And a timely word to the proper authori- 
ties would result in the withdrawal of election advertising. 

Carter. It can be done. 

Door of office opens quietly, Kitty peers out cautiously 
and as she sees Fredericka, deliberately listens. 

Fredericka. Trivial — and unsuspected — accidents have 
been detrimental to the bank account. (Silence for a mo- 
ment.) In fact, Mr. Carter, the way seems clear — if plans 
materialize — for you to obtain the Clarion at a low figure. 

Carter (eagerly). And Dwyer? 

Fredericka. Is a good tool. His place in the press- 
room gives him every opportunity. 

Carter. You have paid him? 

Fredericka. Lavishly — and he is quite prepared to do 
— what you wish. 

Carter (zvith evident relief). Then our bargain is at 
an end. (Leans back in chair.) 

Fredericka. As far as the Clarion is concerned. 

Carter (sharply). What do you mean? 

Fredericka (rising). That — being of a practical nature 
— I desire to provide for the future. (Leans over desk.) 
Mr. Carter, I want another ten thousand. 

Carter (rising). Are you crazy, woman? 

Fredericka (turning away). No — only clever. The 
two are often confused. (Pauses.) Air. Carter — you wish 
to win in the coming election, I presume? 

Carter. A foolish question. 

Fredericka. And you also wish to keep your position 
of leading citizen in this part of the country? 

Carter. I intend to do so. 

Fredericka (calmly pozvdering her nose). Then of 
course you wouldn't care for the Donovan story to be made 
public. 

Carter (taken unawares). What do you mean? 



50 THE SPELL OF THE IMAGE 

Fredericka. And it might cause criticism should the 
fact of your assumed name be discovered. 

Carter. You've lost your senses. 

Fredericka. Hardly. If I hadn't taken extraordinary 
good care of them, I shouldn't have you — where you are. 

Carter. A trumped-up story. 

Fredericka (insinuatingly). Do you really think so, 
George Mason f (He starts.) Ah — I see you recognize 
your name. Well — perhaps it will interest you to know that 
my father knew Mr. Donovan well ; that, from my child- 
hood, I have known the story of — 

Carter. Hush ! 

Fredericka (coming to him). The trusting unsuspect- 
ing man who gave himself wholly into your unscrupulous 
clutches — who became responsible for all your debts and 
trickery when the failure came. 

Carter (desperately). You can't prove it! 

Fredericka. Oh, can't I ! A chance visit of my father 
revealed your identity to me. And — have you forgotten 
the small boy? 

Carter. He disappeared — 

Fredericka. Just as you did. But he disappeared only 
temporarily. After his wealthy aunt had seen fit to send 
him to the best universities in America and Ireland — her 
home — she left him her entire estate. 

Carter. Well ? 

Fredericka. He's back — in New York — with an inde- 
pendent fortune, a perfectly good roadster and a fascinating 
brogue. 

Carter. You've seen him? 

Fredericka. Many times. 

Carter. He — remembers ? 

Fredericka. Sons don't forget such things — as a rule. 
And a gentle hint from me — 

Carter. So you threaten me. 

Fredericka. Oh, no, I don't. I offer you my silence in 
return for — ten thousand. (Pauses.) I'll be at the book- 



THE SPELL OF THE IMAGE 51 

store across the street. Will you follow me In a moment? 
Perhaps we can come to an understanding. (Exit L. U. E.). 

Carter sits L. of desk for a moment zvith his head on his 
hands — then follozvs her L. U. E. Kitty dashes from the 
office follozved by Ted. 

Kitty (pushing him to L. U. E.) Ted! Stand by that 
door and tell me if anybody is coming. (Takes telephone.) 
Central give me long distance — Long distance? — Connect 
me with the University Club — New York City — and, oh, yes 
— charge the call to the Clarion — Yes, the Clarion. (Hangs 
np receiver and hurries to Ted.) Now, Ted, here's some 
real detective work for you. Follow Miss Farr — watch 
where she goes — find out whom she meets — listen to what 
she says — and — don't let her see you. (Ted catches his cap 
from the rack.) No — you can't wea.r that — it's no kind of a 
sleuthing hat — and you ought to disguise yourself. (Takes 
Lester's hat from rack.) Here — take Mr. Ross' — pull it 

down so — now hurry. (Exit Ted L. U. E. as telephone 

rings. Kitty hurries to it.) University Club? — I want Mr. 
Donovan — Mr. Terrence Donovan — and quick, please. 
(Turns and nervously zvatches door.) Hello! — Hello! — I 
can't understand — Just gone out the door? Well, catch him 
— catch him — it's important — so very important. (To her- 
self, as she zvaits.) Oh — h-h-h ! Hello! — Oh, is it you. Ad- 
venture? — It's — it's — Kitty Aldrich ! — Don't say that over 
the 'phone. Anyway, I haven't time to listen — Do you re- 
member telling me about the man you wanted to find ? Yes, 
yes — Well, he's here — I can't explain — but he is — and won't 
you come? — Right azvayf — Oh, here in the Clarion ofiice. 
Then it won't be long? — Thank you — oh, thank you. Good- 
bye. (Hangs up receiz'cr.) 

Kitty sinks exhaustedly before the typezvriter L. 2 E. 
As Lester enters she straightens up and begins to pound it 
furiously. 

Lester. Ted! Ted! Where on earth is that boy? 

Kitty. I sent him on an errand, Mr. Ross. 

Lester (in surprise). An errand? (Crosses to her.) 

Kitty. My errand. 



52 THE SPELL OF THE IMAGE 

Lester. But, my dear Miss Aldrich, he Isn't supposed 
to leave this office — except on business. 

Kitty. This was business — important business. 

Lester. Will he be gone long? 

Kitty. Lidefinitely. 

Lester (crossing to hat tree). Then I'll be obliged to go, 
myself. (As he looks for his hat.) Where's my hat? 

Kitty (nervously). Oh — I think Ted wore it. 

Lester (crossing to her). Wore my half Why in 
thunderation did he wear my hat? 

Kitty (confusedly). Why — why — it seemed more be- 
coming — and — can't you wear his cap? (Lester glances 
witheringly at her and flings himself down at his desk.) 

Enter MacDonald L. U. E. 

MacDonald (hurrying to Lester). Jove, but I'm glad 
to find you, old man. Harlan and I have been hard at it — 
and — (Lester glances inquiringly at Kitty zvho has stopped 
her typing and is listening). You don't mind leaving us a 
moment, do you, Kit? 

Kitty (zvitJi dignity). Certainly not. (As if to her- 
self.) Men are so easily peeved. (With great deliberation 
she rises, arranges her papers, smooths her hair, puts on her 
coat and gloves, Lester aiid MacDonald zvaiting nervously 
and impatiently for her to depart. As she leaves the room 
at L. U. E. she turns and smiles beamingly.) Good-bye! 
(Exit L. U. E.) 

Lester (zvith relief). Thank heaven! Now, what is it? 

MacDonald. Harlan has placed some property on the 
market — and as real estate is booming we ought to realize 
a lot from that. 

Lester. But, it's your property. 

MacDonald. What do you mean? 

Lester. Carter's faction is clever enough to crowd your 
stufif off the market. 

MacDonald. Impossible. 

Lester. You can be pretty sure that they intend to keep 
any cash from coming your way. 

MacDonald. Surely they haven't that power. 



THE SPELL OF THE IMAGE 53 

Lester. Maybe not. But why not use the securities? 

MacDonald (hesitatingly). I don't understand Harlan's 
attitude in regard to that side of the proposition. He's 
non-committal and says he must confer with my broker. 

Lester. Is your broker Satisfactory? 

MacDonald. I've never stopped to notice — but I've al- 
ways given him absolute authority. From this time on, I'll 
have a hand in my own affairs. 

Enter Carter, L. U. E. 

MacDonald (rises). Why, Mr. Carter, this is truly 
an unexpected visit. 

Carter (at C). Unexpected on my part, I assure you. 
I planned to offer you the hospitality of my own office — but 
some very saucy person on your staff assured me that you 
took no orders from anyone — so here I am. (Tosses hat 
on typeivriter L. 2 E.) 

MacDonald (motioning him to L. of desk). I, doubt- 
less, would have expressed myself more tactfully but — the 
sentiment is mine, just the same. 

Carter. May I claim a few moments of your time? 
(Sits.) 

MacDonald. Most certainly. (As Carter glances to- 
ward Lester.) Mr. Ross is quite familiar with all my 
affairs. You know him I presume? (Brings chair from L. 
of hat tree and places it at hack of desk, at Carter''s right.) 

Carter. I've had that pleasure — chiefly through his edi- 
torials. They have been quite like personal advertisements. 

Lester. All's fair in love, war and politics. Mr. Carter. 

Carter. Seriously speaking, Dunbar, why have you 
chosen to oppose me in this fashion ? 

MacDonald (seating himself). Suppose we say that 
I am upholding your rival candidate. That sounds more 
friendly. 

Carter. Friendly is hardly descriptive of your attitude, 
my dear boy. From the first, I have been interested in your 
career — eager for your success — and from the first you 
have met my overtures with hostility. 



54 , THE SPELL OF THE IMAGE 

MacDonald. I don't understand, Mr. Carter — for I am 
not aware of any personal dislike or personal animosity. 

Carter. But you have fought my interests — and my 
candidacy. 

jMacDonald. But — suppose' that I do not believe in 
your interests — and choose to support my own candidate. 
Need that involve the personal equation? 

Carter. Insinuations have been made — 

MacDonald. Doubtless. 

Carter. Questionable transactions have been hinted — 

Lester. Do you expect a political race without any ob- 
stacles, Mr. Carter? 

Carter. Hardly. But I am in the habit — of removing 
obstacles. 

MacDonald. To how few of us does that privilege 
come ! 

Carter (leaning toward him). See here young fellow — 
I don't know wdiat your object is — but I do know that you 
are creating a public sentiment unfavorable to me and at the 
same time are bringing yourself into desperate straits. This 
sort of condition can't last — so, what is a change of policy 
worth to you ? 

MacDonald. I don't quite understand I'm afraid. 

Carter (impatiently). Oh, come, come! I think you 
do. Now, Dunbar, I can help you — you can help me ; sup- 
pose we strike a bargain at your own terms. 

MacDonald (rising). You are offering to buy the 
Clarion f 

Carter (rising). Substantially. 

MacDonald. And my services ? 

Carter. Naturally you would retain your position. 

MacDonald. Under your dictation ? 

Carter. Don't call it dictation — rather, a mutual agree- 
ment. (Moves to C.) 

MacDonald (after a pause). Mr. Carter, if you were 
not an older man, I would show you the door. (Comes to 
C.) You can't understand fair play, can you? You think 
that every man has his price, that he yields to the highest 



THE SPELL OF THE IMAGE 55 

bidder, that money is the only measuring rod ! Then hear 
my answer and regard it as final. My paper is not for sale 
— my self-respect is not negotiable — and the only bargain 
we can ever strike is — open hostility. 

Enter Phyllis L U. E.; she stands Jiesitatiug, as she sees 
them, then crosses to R. 

Carter (furiously). Then, you young idiot, we under- 
stand each other. You've had your chance, you've turned 
it down — and now you can take what comes. I shall not 
give you a particle of mercy ; I'll not furnish you an avenue 
of escape ; I'll hold you, bend you, and, by heaven, I'll 
break you. 

MacDonald. You may do all that, Mr. Carter — all that 
and more. You may threaten me in whatever way you 
choose ; you may force me to fight against trickery and 
fraud ; you may make me the object of your taunts and 
your malice ; but one thing you can't do — you can't take 
away my manhood, my honor and my sense of what is right. 
Good-bye. (Carter hesitates, attempts to speak, takes his 
hat and then hurries from the room L. U. E.) 

Phyllis (hnrrying forzvard). Mac! What's happened? 

MacDonald. My enemy has shown his hand — that's 
all. (To Ross.) Will you come to my oftice a moment, 
Ross? (MacDonald ajid Ross withdraw to the otfice. 
Phyllis looks after them in surprise and resentment — then 
walks slozvly to zuindozu and gazes out.) 

Enter John, hurriedly, L. U. E. 

John. Where's Mac, Phyl? 

Phyllis (turning). In his office — with Mr. Ross. 
(Noticing his evident agitation.) Why Jack — what is it? 
(Comes to C.) 

John. Phyl, I'm up against it — I don't know how to tell 
Mac — I don't know how he'll take the news — and — 

Phyllis. What is it? (Sinks in chair L. of desk.) 

John. He's gone to smash. Now how can one break a 
blow like that ? ( Walks up and dozvn L.) 

Phyllis. Gone to smash? 



56 THE SPELL OF THE IMAGE 

John. Beyond the shadow of a doubt. 

Phyllis. But how? 

John (at L. 2 E.). Bad investments — due to his broker 
— and unfortunately, not investigated by Mac. 

Phyllis. How did it happen? 

John. His money was invested in Mexican securities 
and the broker acting with the full authority which Mac 
gave him, sold out and bought Amalgamated Steel. Yester- 
day, Amalgamated Steel went down — completely down and 
out. 

Phyllis. Everything is gone? 

John. Practically everything, save his home, his busi- 
ness properties, some bank stock and a few odds and ends. 

Phyllis. Oh, how terrible! To think of the splendid 
fortune his father accumulated, wiped out in a single day. 

Unseen by Phyllis and John, MacDonald and Lester 
appear at office door. 

John. I'm not thinking of his father — Pm thinking of 
Mac. Why the fellow has never had a desire ungratified — 
he doesn't know the value of a dollar; without capital — 
and with this burden of a paper on his shoulders — well Pd 
rather be shot than tell him — that's all. 

MacDonald (crossing to desk). It must be pretty bad. 
Jack, if you're that anxious for a bullet. (To Lester.) 
That's all for the present, Ross — and thank you. (Exit 
Lester R. U. E.) Come now — out with it. 

John. Mac — old man — (Desperately.) Tell him, Phyl. 

Phyllis. Your stocks are quite — worthless — Mac. I'm 
putting it awkwardly — but — 

MacDonald (leaning on desk). I understand! I un- 
derstood. Jack, when you tried to break the news awhile 

John. I didn't know for certain, then — it's only since 
you left that definite news has come. 
MacDonald. , It's quite definite ? 
John. Quite. 
MacDonald. So — it's up to me. 



THE SPELL OF THE IMAGE 57 

John (crossing back of Phyllis). I'm afraid so. 
(Puts hand on shoulder.) Mac, give up the paper. 

MacDonald (after a moment). Once upon a time, 
Jack, I was on my college team. I knew what it was to 
wait in a breathless silence until the ball should come my 
way — I knew that the signal meant I must make the goal. 
(Pauses.) That's how I feel about the paper. 

John. Then go to it, old man — and I'm with you. 

MacDonald. Thanks. Now suppose you reconnoiter 
and find out just what's left to me. 

John. I'm off. (E.vits L. U. E.) 

MacDonald. And with, this new complication, I'd bet- 
ter be consulting Mathews. You'll excuse me, Phyl. (Starts 
off to R. U.E.) 

Phyllis. Mac ? 

MacDonald (turning). Yes? 

Phyllis. I'm sorry — 

MacDonald. I know you are — but don't let my hard 
luck trouble you. 

Phyllis. How can I help it? 

MacDonald. For it's a sort of retribution — after all my 
wasted years of indifference to my own affairs. 

Phyllis. You've changed. 

MacDonald. Naturally. Experience and responsibihty 
usually leave their mark. 

Phyllis. I mean — you've changed toward me. 

MacDonald. That's natural, too. For a long time you 
were the central figure of my existence — it's different now. 

Phyllis. You mean that you don't think of me in the 
same way? 

MacDonald (coming close to her). Phyl, you'll always 
be the same to me — nothing can change that — but I see 
your standpoint now — I understand your desire for inde- 
pendence — and I'll never trouble you again. 

Phyllis. What do you mean? 

MacDonald. By asking you to marry me. The loss of 
my money has settled that question — forever. 

Phyllis. Listen to me — and try to understand. (Places 



58 THE SPELL OF THE IMAGE 

hands on his shoulders.) Forget that I am Phyl — the girl 
you've known all your life — and think of me only as a 
business-like and enthusiastic young woman who longs to 
help out in the particular problem that confronts you, who 
begs to work with you, hope with you, believe in you, win 
with you. Look upon me, Mac, as your partner. 

MacDonald (taking her hands). Do you really mean 
this, Phyl? 

Phyllis. Mean it! It's everything to me! I, too, want 
to prove that I can conquer a situation — that I can be friend 
and companion. Oh, Mac, I want you to feel that I'm — 
necessary — to you ! 

MacDonald. Then you shall have your chance — and 
we'll begin by facing the — finances ! Come ! (As they pass 
out L. U. E. Kitty meets them.) 

Kitty (apologetically). I'm just looking for — some- 
thing — that's why I'm back. (Turns.) Oh, Mac? 

MacDonald. Yes ? 

Kitty. If I should need you where will you be? 

MacDonald. Across the hall. (Exeunt Phyllis and 
MacDonald L. U. E.) 

Kitty peers out window, hangs up coat and hat, walks 
nervously hack and forth and looks at the time. Suddenly 
a blast from an auto horn breaks the silence. She hurries 
to the zvindow, smiles and motions. In a moment, Ter- 
rence enters L. U. E. 

Terrence (hurrying to her at L. 2 E.). Faith, and is it 
you. Dream Princess? I can never be thinking of you apart 
from moonlight, romance and the star-wandering wings of 
enchantment. (Takes both her hands.) 

Kitty. And why should you be thinking of me at all? 

Terrence. Whisht ! And how can anyone keep from 
thinking of sunshine, flowers — and the Land o' Dreams? 
(Eagerly.) You had my letters? (Throws hat on type- 
writer L. of C.) 

Kitty. Yes. 

Terrence. And never an answer for me! 



THE SPELL OF THE IMAGE 59 

Kitty. Someway, I couldn't write, Adventure. I wanted 
you to — come. 

Terrence. Sure and my thoughts have been winging to 
you a thousand times — but I've been a bird of passage — 
with never a chance to rest — until last night. 

Kitty. And when my message came today? 

Terrence. I was just leaving — for you. (Kitty smiles.) 
Don't you believe it, don't you knozv it, Dream Princess? 

Kitty (quietly zvifhdrazving her hands). Oh, Adven- 
ture — it's all very strange, isn't it? Sometimes I wonder if 
you're real — if I'm real. Perhaps it would all be different, 
had it happened — some other way — some everyday way. 

Terrence. But it didn't. 

Kitty. No — it didn't — and Fm glad. {After a pause.) 
Adventure ? 

Terrence {eagerly). I'm a listening to every word of 
you, Dream Princess. {Comes closer.) 

Kitty. I believe fate sent you to me that night. 

Terrence. Sure and it was something very wonderful 
and beautiful — why call it fate? 

Kitty. Because today — there came to me — oh, so strange- 
ly and unexpectedly — what you've been waiting for — for 
years. Tell me — was the name of the man who has escaped 
you — whom you have been hunting — George Mason? 

Terrence. It was — it zvas! Oh, Dream Princess, don't 
tell me, that I've lost him again. 

Kitty. He's here — in this very city. He's wealthy — 
prominent — influential — and he bears another name. {As he 
turns azjuay.) Tell me, what is it? {Goes to him.) 

Terrence. Just the memory of a broken, disheartened 
man who had lost — everything — through the treachery of 
one whom he thought his friend. Oh, Dream Princess, it's 
been a bitter memory — and one which has never left me — 
and now — nozv — {takes note from pocket). Read that! 
The note that the traitor left my father — that has never been 
apart from me. {Crosses to L. 2 E.) 'Tis a cruel note — 
a hard note — ah, I've been living for this very hour when I 



60 THE SPELL OF THE IMAGE 

could hand it back to him — when I could — {his face dark- 
ens). 

Kitty (hurrying to him). Don't — don't — Adventure — 
it isn't like you. (Turns and walks to chair back of desk 
and sits.) 

Terrence (crossing at R. of desk to her J. And I should 
not be thrusting my dark moods upon you, Dream Prin- 
cess — (Sits on desk.) Will you tell me how you found — my 
enemy ? 

Kitty. Through one who calls herself Fredericka Farr. 

Terrence (in surprise). Fredericka! 

Kitty. You know her ? 

Terrence. Faith and" we played together when we were 
children. 

Kitty. Perhaps it isn't the same one — 

Terrence. My Fredericka has hair like sunshine, eyes 
as blue as the sky — and a jolly smile that makes sunshine 
even when the rain is a-falling! 

Kitty (haughtily) . Oh, has she ! Well, Fd never recog- 
nize her from that description. 

Terrence (leaning tozvard her). But Dream Princess, 
she isn't a part of the world zve know — she can never rise 
beyond the whirlwind of the day's inconstant things — she 
hasn't the understanding of you, the soul of you — and the 
sweetness of you. 

Kitty (suspiciously). But you've seen her — many times. 
I heard her say so. 

Terrence (rising). Faith and what would you be ex- 
pecting me to do when I pass her — ride on and never give 
her a lift? (Softly.) Go on with the story, Dream Prin- 
cess. (Sits on desk again.) 

Kitty (mollified). Well — Miss Farr — your Fredericka 
— is a confederate of Henry Carter — and Henry Carter is 
trying to gain possession of the Clarion. 

Terrence (quickly). Henry Carter — the political candi- 
date ? 
•Kitty. Not Henry Carter — but George Mason. 

Terrence. Are you sure of this? 



THE SPELL OF THE IMAGE 61 

KiTTV. Sure — I lieard it — right here. 

Terrence {rising). Then they mustn't escape me — they 
— {Crosses hack of her to C.) 

Kitty {rising). Don't worry, Adventure. Ted is watch- 
ing them for me. {Cojnes down R.) 

Terrence. Ted — and who is Ted? 

Kitty. Ted is connected with the paper; he's a very 
old — and a very dear friend. 

Terrence {quietly). You never told me about him. 

Kitty. There are many things I haven't told you — Ad- 
venture. I haven't known you long enough. 

• Terrence. So — it's your friend's office — and your 
friend's paper — I was wondering why you chose this place 
to meet me. Now, I understand. {Takes hat from type- 
zvriter.) 

Kitty {laughingly). I don't think you do. I chose this 
place because my 'home is too far away — and — Ted is the 
office boy ! 

Terrence {starting toward her). Dream Princess! 

Kitty {crossing to L.). Wait, Adventure — for this is 
where I call Mr. Dunbar, the owner of the paper — you must 
tell your story to him and — {Hesitates and comes back.) 
Oh, Adventure, I hate to be introducing you to other peo- 
ple — it's like tearing down the walls of our own little world 
and opening it to strangers. 

Terrence {softly). Dream Princess, do you really 
think that anyone can tear down the walls of our world — 
that — {Takes hand.) 

Kitty {rushing away to L. U. E.). Mac! Phyl! 

Enter MacDonald and Phyllis L. U. E. 

Phyllis. Why Kitty, what is the matter? {Comes to C.) 
Kitty {at L. 2 E.). My sister, Phyllis, Mr. Donovan — 
(Terrence and Phyllis greet each other.) — and Mr. Dun- 
bar — {As they clasp hands.) Faith and it's the Scotch and 
the Irish a-meeting! (MacDonald crosses to desk.) Lis- 
ten Mac — Mr. Donovan has a story — a very wonderful 
story — and — (Terrence zvalks to R. 2 E.). 



62 THE SPELL OF THE IMAGE 

Burton (in outside hall). Dunbar! Dunbar. Where 
are you? 

Enter Burton at R. U. E. in great excitement. 

Burton. The machinery has been tampered with — the 
presses are useless. We're done for — ruined — • 

MacDonald. Stop ! When did this happen ? 

Burton. Nobody knows — but it's the end of everything 
for us. 

MacDonald. Never! Never! Mathews, get the stuff 
together. 

Burton. But Dunbar — the thing's impossible. Give up 
for the present — wait until — 

MacDonald. Nothing is impossible ! We'll buy new 

presses — we'll meet all emergencies — we'll win in spite of 

everything. Give up? Why man — we've just begun to 

%ht! „ 

Curtain. 



Act III. 



Scene: Same as Act I. Curtain rises on John seated 
R. of table; Kitty L. of table; Phyllis on settee. Ted 
is standing back of table and Carter is standing at C. 

Ted. And that's all, Mr. Harlan. After Dwyer had 
promised to break the machinery so that the presses wouldn't 
work, Miss Farr and Mr. Carter left him — and — then — all 
of a sudden, Dwyer turned back and saw me. Honest, 
Miss Kitty, I couldn't help his catching me — he's bigger — 
and — 

Kitty. Of course you couldn't Ted. What happened 
next ? 

Ted. He locked me up — and I stayed there — hours and 
hours and hours. And when he let me out — 'twas too late 
to save the presses. 

Carter {angrily). And it's for this trumped up story 
of an office boy that you dragged me out here. 

John. You forget, Mr. Carter, — it was your own sug- 
gestion that we come here to interview Mr. Dunbar. 

Carter. And where is Dunbar? 



THE SPELL OF THE IMAGE 63 

John. I explained to you that exhaustion, anxiety and 
a slight accident to his hand demanded a good night's rest. 
We brought him out here to be quiet and when you insisted 
upon accompanying me, I did not promise that he would be 
awake. 

Carter. Then he must be wakened. 

John. That is unnecessary. Miss Aldrich and I repre- 
sent his interests. 

Carter. Then, perhaps, you will see that your paper 
denies this story. It is being circulated in the city — and — 

Kitty (interrupting). Wait a moment, Mr. Carter. I 
happened to be in the Clarion office when you met Miss Farr, 
yesterday. I overheard enough of the conversation to learn 
that she is acting under your orders. 

Carter. I know Miss Farr only as a reporter upon the 
Clarion. 

Kitty. But a reporter who reports to you. 

John. All of which, Mr. Carter, explains the ease with 
which you timed your blows upon the paper. 

Carter. I believe that it was in the office of the Clarion 
that I heard the expression ''All is fair in love — and war and 
politics." Even should these things with which you charge 
me be true, I have done them — in self defense. 

John. Then this is all you have to say, Mr. Carter? 

Carter. All I have to say. Any other communication I 
shall make to Dunbar himself. (Turns as if to leave.) 

John (rising). One moment, please. (To Ted.) Will 
you call Mr Donovan? 

Exit Ted at R. entering almost immediately follozved by 
Terrence. 

John. You know Mr. Donovan, I believe? (Ted stands 
back of table.) 

Carter. I do not. 

Terrence (crossing to him). Perhaps it's not myself, 
but my name that you're remembering, Mr. Mason. 

Carter. What new nonsense is this? (Turns aside.) 

John. Fifteen years ago, in a little town whose name 
might be familiar to you— a certain George Mason played 



64 THE SPELL OF THE BJAGE 

a dishonorable trick upon an unsuspecting partner — and dis- 
appeared. It would not be an attractive story if published 
in connection with a political candidate, would it, Mr. Car- 
ter? 

Carter. Why are you telling me all this ? Why should 
the story interest me? 

Terrence. Because you are George Mason — and be- 
cause my father was your partner. 

Carter. Do you suppose I'll submit to such a ridiculous 
accusation? Why you have no grounds for such a state- 
ment — no proof — ■ 

Kitty. Only the fact that I heard you acknowledge to 
Miss Farr that you were George Mason. 

Carter. Hearsay is no evidence. Why you can't verify 
your charge by a single scrap of paper. 

Terrence. And if it's the scrap of paper you're need- 
ing — I've been carrying it with me for many a day. It 
proved a death warrant fifteen years ago — and now it's 
coming back to the hand that sent it. (Takes out note and 
hands it to Carter.) 

John {coming to front of table). You see, Mr. Carter, 
there is no use in denial. We have our proofs, we can ob- 
tain others at any time. What are you going to do about it? 

Carter (furiously). So tJiat's your plan — to print this 
story in your paper — to ruin me — to — (Is about to thrust 
paper into pocket when Terrence seizes it.) 

John. The Clarion is no advocate of blackmail. Mr. 
Dunbar's orders are that no word of this shall find its way 
into our pages. 

Carter (after a pause). Then — what are your terms? 

Enter MacDonald down the stairs unseen by Carter. 

John. First — that you fully compensate the Clarion for 
what financial loss it has suffered through you. Second — 
that you announce in tomorrow's paper your withdrawal 
from the political race, together with the request that votes 
intended for you shall be transferred to the candidate we 
support. (Turns.) That's all — from us. Mr. Donovan will 
make his own demands. (Returns to chair R. of fable.) 



THE SPELL OF THE lAIAGE 65 

Carter (turning to Terrence). And — you? 

Terrence. Six weeks ago, I had only one thought — the 
black thought of revenge, — a bitter revenge that would mean 
your ruin, your disgrace and even your death. I wanted you 
to struggle — and to suffer — as my dad had done in the few 
weary years you left him — I wanted to gloat over your mis- 
fortune — to be happy in your downfall. (Glances at Kitty.) 
But now — it's different. For there's something way down 
in my heart a-telling me that vengeance isn't for me to give 
— that a greater power than our poor human agency is back 
of everything in the world. The mills of the gods grind 
slowly, George Mason ; conscience may become a torture ; 
and often, remembrance is a bitter thing. I ask no other 
revenge. (Crosses and stands back of Kitty.) 

MacDonald (coming to Carter). I'm sorry to be so 
late for the conference, Mr. Carter. Naturally I expected 
to meet you at the office — but since it has happened this way, 
matters have been satisfactorily arranged without me. You 
accept the terms ? 

Carter (as he zvalks slozvly to the door at L. 2 E.). I 
accept the terms. (Exit L. 2 E.) 

]\L4cDoNALD. It was a fine and generous thing to do, 
Donovan, and — (Puts hand on Terrence's shoulder.) 

Enter Mrs. Breckinridge at R. 

Mrs. B. (crossing to R. 2 E.). Well, has that man gone ? 
I can't understand why he came here when we've never 
been introduced and have never recognized him. (Seats her- 
self.) 

Phyllis (patiently). Aunt Alice, I told you that it was 
merely a business call. 

Mrs. B. Then it should have been made in an office. If 
the home is to be invaded in this fashion, where is the line 
to be drawn? (Seeing MacDonald.) Why MacDonald, 
I didn't know you were up. How did you sleep? 

MacDonald. Like a top. 

Mrs. B. And your hand? 

MacDonald. Ever so much better. 



66 THE SPELL OF THE IMAGE 

Mrs. B. (rising). Then I'll have Belinda make your 
coffee right away. 

MacDonald {detaining her). Please don't — for I have 
just enough time to thank you all for the rest cure — and to 
get to the city. 

Mrs. B. But, MacDonald ! The Castlemans never allow 
a guest to depart without breakfast. 

MacDonald. Then let's call it a postponed breakfast — 
for I'll come again. 

Phyllis. Can't you really stay, Mac? Mr. Ross is do- 
ing all that can be done and — 

MacDonald. But I must see the banks. All morning 
my mind has been juggling rows and rows of figures — and 
the sooner I settle them, the better. You'll be down, Jack? 

John. As soon as I confer with — your partner. (Nods 
tozvard Phyllis.) 

MacDonald (/o Phyllis). And you? 

Phyllis (rising). As soon as I finish with — Jack. 

MacDonald. Such conspirators! (Turns to Ted.) 
Well, Sherlock Holmes, you're coming with me, aren't you? 
How would you like to help me run the paper? 

Ted (coming to MacDonald). Please, Mr. Dunbar, if 
you don't mind — (Hesitates.) 

MacDonald. Yes? (Kitty and Terrence cross to back 
of settee.) 

Ted. I'd ruther be — a detect-uff ! 

Kitty. You're a bully good one now, Ted. 

Ted. If only Dwyer hadn't pinched me — 

MacDonald (at L. 2 E.). Come along! 

Ted (zvaving to Kitty). Good-bye, Dr. Watson! 
(Exeunt Ted and MacDonald L. 2 E.) 

John (crossing and taking Phyllis' arm). Would you 
mind transferring Mac's coffee to me, Phyl? (They start 
tozvard the dining room.) 

Mrs. B. Phyllis? 

Phyllis. Yes? 

Mrs. B. (zvho has been rnmMiaging in table drazver). 
Have you moved my monkey wrench? 



THE SPELL OF THE IMAGE 67 

Phyllis. Why should I move your monkey wrench? 

Mrs. B. I keep it here in the drawer so that it's handy — 
I've always kept it here — and it belonged to your grand- 
father Castleman, 

Phyllis. Ask Belinda. (Exeunt Phyllis and John 
at R,) 

Mrs. B. (turning). Katherine ! Have you seen that 
monkey wrench? 

Kitty. Not — lately. Do you need it? 

Mrs. B. (peevishly). Would I be hunting it, if I didn't? 

Terrence (zvhispering to Kitty). Sure and maybe one 
of the screws in the family tree is loose. (Catches np 
Kitty's coat which is over back of settee.) 

Mrs. B. I'm attached to that monkey wrench — It's almost 
like an heirloom. Why I never expected it to go out of 
the family ! 

Terrence (as he holds coat for Kitty). Faith and I'm 
hoping it never will — go out of the family ! 

Mrs. B. (as Kitty puts on her coat). Katherine, where 
are you going? 

Kitty. Out. 

Mrs. B. I inferred as much. It isn't kind of you to be 
so noncommittal — especially when I'm all worked up over 
the loss of the monkey wrench. (Plaintively.) It belonged 
to your grandfather Castleman. 

Kitty (advancing). I meant to say that I'm going out 
in Mr. Donovan's car, auntie. 

Mrs. B. (pushing her aside at L.). Katherine, do you 
know anything about the family of this young man? 

Kitty. When I'm with him^ I never think of his ances- 
tors. 

Mrs. B. But family was a great point with the Castle- 
mans — and — 

Kitty. Auntie, if all his family were washerwomen, it 
wouldn't make the least bit of difference. (Meanzvhile Ter- 
rence tiptoes to the table, opens the drawer, and is replac- 
ing the monkey wrench when Kitty turns. He holds up 
a warning finger — then crosses to Mrs. Breckinridge.) 



68 THE SPELL OF THE IMAGE 

Terrence {holding out his hand). Sure and I'll be tak- 
ing just as good care of her as if it were yourself that was 
a-trusting yourself to me. (]\Irs. Breckinridge takes his 
hand reluctantly.) 

Belinda enters R. as Terrence and Kitty withdrazv at 
L. 2 E. 

Mrs. B. Belinda, have you seen my monkey wrench? 

Belinda. Aint seen it since you put it in that there table 
drawer. 

Mrs. B. {returning to table). Well, I've looked through 
this table drawer a dozen times — and — {As she discovers the 
missing monkey wrench, she shrieks, and points dramati- 
cally.) Belinda! 

Belinda {excitedly). What is it, Mrs. Breckinridge? 
A bloody dagger ? 

Mrs. B. {hysterically). It's — it's the monkey wrench! 
{Holds it up.) 

Belinda {in disgust). Just the monkey wrench? Why, 
that ain't nothin' ! Lady Gwen-do-line found a gory glove 
onct when she was lookin' in a table drawer ! 

Mrs. B. But I took everything out this very morning — 
and it wasn't there — and now — now — oh, I don't under- 
stand ! 

Belinda {in a loud whisper). Ghosties, Mrs. Breckin- 
ridge — ghosties! {Points.) And that there image is the 
worstest of all ! Just see how he's watchin' you — and grin- 
nin' at you — and— 

Mrs. B. {regaining her composure). Belinda! That 
. will do. {Hurries toward dining room.) Phyllis! Phyllis! 
I've found the monkey wrench ! It belonged to your grand- 
father Castleman, and {Exit R.) 

Belinda {standing before image). I ain't afraid of you, 
you sassy thing — I ain't afraid to slap you! (Carolyn 
comes slozvly dozun stairs, Belinda spies her.) Why, Miss 
Carol ! I didn't know you was home ! And you sweep down 
them stairs for all the world like the Lady Gwendoline ! 

Carolyn. I'm having a birthday and a holiday all rolled 



THE SPELL OF THE IMAGE 69 

into one, Belinda. (Opens box of roses which she carries.) 
Aren't they lovely? 

Belinda (excitedly). Miss Carol, have you an unknown 
worshipper at your shrine? 

Carolyn. Mercy, no ! Unknown worshippers have gone 
out of style. These are from a friend — just a very good 
friend — Mr. Harlan. 

Belinda. He's in there — with Miss Phyl. {Points to R.) 

Carolyn. Is he? Do you mind taking out this box, 
Belinda? {Takes flowers from box which Belinda carries 
out R.) 

Enter John at R. 

Carolyn {at back of table). I was wishing for you — 
how did you know? 

John {corning to chair R. of table). I guessed it — and 
the sight of Belinda and the flower box made me pretty 
certain that you were somewhere near by. {As he takes 
both hands.) Happy birthday. 

Carolyn {motioning to flowers). You never forget, do 
you Jack? 

John. How could I? 

Carolyn. In a few more years I'll make you forget. 
There comes a time when we don't keep track of birthdays. 
{Pins rose on his coat.) Here's one of the beauties for you. 

John. You can be delightfully feminine Carol, when 
you want to be. 

Carolyn. Did you say feminine or feminist? {Sits R. 
of table.) 

John. You know what I said. — {Sits on edge of table 
at her left.) 

Carolyn {laughing) . Same old views, Jack? 

John. Same old views. What about you since those 
days when you chose a career instead of me? 

Carolyn. I've succeeded — haven't I? I've made some- 
thing of a name for myself — I'm financially independent — 
and I've had a tilt at some of the big questions that have 
come my way. 

John {leaning forward). But — are you satisfied? 



70 THE SPELL OF THE IMAGE 

Carolyn (lightly). What a serious question to ask — 
on one's birthday. 

John. Can't one answer questions on a birthday? 

Carolyn. It depends upon the question. (Quickly.) 
Come — tell me about the Clarion troubles. 

John. I'll tell nobody's troubles — except my own. 

Carolyn. What troubles can a successful young law- 
yer have? 

John (softly). Guess. (Rises and stands by her.) 

Carolyn. I never guess — especially on a birthday. I 
like to be sure of things. (Taking the flowers.) Come, help 
me arrange them. (Rises.) 

John (as he selects a bud, a half blozvn and a full blown 
rose). How do you like the combination? (Holds them 
out.) 

Carolyn (as she arranges roses in vase). Lovely. — 
Three degrees, so to speak. 

John. There's a pretty story about the three degrees. 
Want to hear it ? 

Carolyn. Surely. 

John. A certain lover sent his lady three roses, with the 
following request: If she felt friendship alone, she was to 
keep the bud ; if he might hope for more, she was to choose 
the half blown flower — and if she could give him the love he 
wished, she was to wear the perfect blossom. (Hands the 
roses to Carolyn.) 

Enter Phyllis at R., John hastily zvithdrazvs to L. 

Phyllis. So you're paying your respects to the birthday 
lady ! I wondered where you had disappeared. (As she 
sees the roses.) Jack's roses? (Perches on arm of chair 
L. of table.) 

Carolyn. Jack's roses. 

Phyllis. He always remembers, doesn't he? 

Carolyn. Always. (As she pins on the rosebud.) And 
he quite deserves all the friendship I can give him. (Turns 
to Phyllis.) Come, tell me about the Clarion. (Sits R. 
of table.) 

Phyllis. Carter accepted our terms. 



THE SPELL OF THE IMAGE 71 

Carolyn. Good. Then — financially — the troubles are 
over. 

Phyllis. Not a bit of it. Even if Carter makes full 
compensation — where is the ready money to come from? 
There's no particular income at present — and without an 
income a newspaper is rather helpless — and hopeless. 

Carolyn. I wonder if I could buy some stock in the 
paper ? 

John (gloomily). No, you couldn't I tried — and failed 
— thanks to Mac's everlasting conscience. 

Phyllis. What's the matter, Jack? You look as if 
you've lost your last friend. 

John (more gloomily). On the contrary, Pve just made 
one. (Leans on mantel, looking at Carolyn.) 

Carolyn (ignoring him). Poor old Mac! Who ever 
thought, a year ago, that he would be worrying about money. 
Pve never before been brought so near to a demonstration 
of the uncertainty of riches. 

Phyllis. But the very uncertainty of riches will bring 
him a certainty of manhood. 

Carolyn. And he'll succeed — he must. (She rises and 
adds the half blown rose to the bud with a glance at the 
despondent John.) While there's life, there's hope. (John 
Jialf starts to her.) 

Phyllis (rising). Oh, I wish I could help him — I wish 
I could help him ! (Catches Carolyn by the arm and points.) 
Look, Carol — look at the image ! Don't its eyes seem to fol- 
low me? Doesn't it seem — alive? 

Carolyn. Phyl! How ridiculous! You're tired and 
nervous. 

Phyllis. Perhaps I am — I won't look at it again. It's 
silly to say such things when I've lived with it all my life — 
but lately — it seems to be trying to tell me something — it 
seems to have cast an uncanny spell upon me. 

Carolyn (thoughtfully). The spell of the image — is 
it an evil spell I wonder? 

Phyllis. It's a spell that must be broken — I'm sure of 
that. (Sits L. of table and leans head on hand.) 



72 THE SPELL OF THE IMAGE 

Carolyn. I'm sure you and Jack have much to talk 
about — so I'll leave you. {Moves toward zvindow.) 

Phyllis. Don't. We need all the ideas and suggestions 
we can get. 

Carolyn. But a third person is always a handicap. (As 
she reaches the windozv she turns toward John and adds 
the full blown rose.) It's so warm that I'll take a bit of 
a walk around the yard. If you wish to consult me — just 
call. {Exit at window.) 

Phyllis {thoughtfully pondering, zvith her eyes on the 
floor). All right. Jack, do you think it would be right to 
consider a temporary cut in salaries? {No anszver. She 
glances up at John zvho stands at zvindozv as if spellbound, 
looking after Carolyn). Jack! {Without a word, John 
turns and hurries after Carolyn.) Oh — oh — what is the 
matter? (Rises and looks around at the linage in conster- 
nation.) The spell of the image! (Bell rings — she starts 
nervously.) Everything gets on my nerves! 

Enter Belinda at R. 

Belinda. Shall I be answering the door, Miss Phyl? 

Phyllis. Why, of course. 

Belinda (as she passes the image). I ain't afraid of 
you, you sassy thing ! Just you wait until I slap your mouth 
{Goes out L. 2 E. — Returning almost immediately zvith 
Mrs. Van Alstyne — and then passing out R.) 

Phyllis (hurrying to Mrs. V. A.). Why, Aunt Letitia ! 
What fun to have a morning call. 

Enter Mrs. Breckinridge at R. 

Mrs. V. A. I've come on business, Phyllis — strictly busi- 
ness — and I'm glad to find you here — for Alice Breckin- 
ridge wouldn't know a business proposition if she were in- 
troduced to it. 

Mrs. B. (haughtily as she advances). Good morning, 
Letitia — I couldn't help overhearing your last remark. Par- 
don me if I say that I can't see what connection I have with 
any business proposition. 



THE SPELL OF THE IMAGE 73 

Mrs. V. A. {gazing through lorgnette). You haven't 
Alice, you haven't. 

Mrs. B. The Castleman girls were not educated in a 
commercial way — 

]Mrs. V. A. And the Aldrich girls were. 

Mrs. B. {meditatively'). Dear me ! It seems but yester- 
day that the Castleman carriage stopped at your father's 
little store — and we children watched you counting pennies 
at the desk. 

Mrs. V. A. {angrily). Counting pennies! Well if my 
poor dear brother had had a wife who indulged in such ex- 
ercise, his children wouldn't now be living in an out-of-date, 
out-of-repair house, that — 

Mrs. B. {freezingly). Letitia ! {Sits L. of ta'ble.) 

Phyllis {Jiastily). Come now Aunt Letitia — let's not 
spoil the morning by any dispute. (Mrs. V. A. sits on 
settee.) It's so seldom that w^e see you. {Seats herself R. 
of Mrs. V. A.) 

Mrs. V. A. And you wouldn't see me today, if I hadn't 
business. I'll come straight to the point, Phyllis. {With a 
glance at ]\Irs. B.) Fortunately I have no trashy sentimen- 
tality about me. 

Mrs. B. {sweetly). Fortunately and naturally, Letitia. 
A family which has no historic setting, no traditions and 
{glancing at portrait) no international alliances, can't be 
expected to possess the finer sensibilities. 

Mrs. V. A. {using lorgnette). Alice Castleman Breckin- 
ridge! What are you insinuating? 

Phyllis {hastily). Now — now — Aunt Letitia. You 
didn't come here to argue I'm sure. 

Mrs. V. A. I came to discuss your financial situation, 
my dear. 

Mrs. B. Phyllis! Surely you don't intend to discuss 
finances outside of the family circle. 

Mrs. V. A. {angrily). Outside of the family circle! Will 
you kindly explain why a father's sister is excluded from 
the family circle? 



74 THE SPELL OF THE IMAGE 

Phyllis {nervously). Nonsense, Aunt Letitia. Aunt 
Alice never meant that! 

Mrs. B. (sharply). How do you know what I mean, 
Phyllis? 

Phyllis (desperately). Let's have the business. 

Mrs. B. Phyllis, for the first time in its history, this 
house has been used as a place of vulgar commercialism. 
Your grandfather Castleman used to say — "Leave business 
at the office — don't drag it into the sacred confines of the 
home." (Wipes her eyes.) 

Phyllis. Go on, Aunt Letitia. 

Mrs. V. A. I've found out all about your money diffi- 
culties. (As Phyllis protests.) Oh, no matter, how — and 
it has worried me so that I felt I must talk it out with you. 
(Glancing at Mrs. B.) If your funds had been properly 
managed — 

Phyllis. Oh, you mustn't worry about us for a moment. 
I'm reporting on the Clarion, and Kitty — 

Mrs, V. A. (interrupting). How do you think you two 
girls can meet emergencies? What will you do? 

Phyllis. Do the best we can — and — meanwhile — im- 
prove our opportunities. 

Mrs. V. A. But yon are not improving your opportuni- 
ties. 

Phyllis. In what way, Aunt Letitia ? 

Mrs. V. A. You should marry MacDonald Dunbar. 

Phyllis. But suppose I don't love MacDonald Dunbar. 

Mrs. V. A. My dear, in this day and age it's very easy 
to fall in love with a man who is able to take care of you. 

Phylis (thoughtfully). But suppose MacDonald isn't 
able. 

Mrs. V. A. Don't be ridiculous, Phyllis. 

Phyllis. Haven't you heard that he's lost his money? 

Mrs. V. A. (in surprise). Lost his money? 

Phyllis. Absolutely. Bad investments. 

Mrs. V. A. (excitedly). Are you sure? 

Phyllis. So sure that I think I could marry him now 
much more easily than in the days of his bank account. 



THE SPELL OF THE IMAGE 75 

Mrs. V. A. (sharply). Don't do anything foolish, Phyl- 
lis. MacDonald is a pleasant and attractive young man but 
I consider him hardly desirable from the standpoint of mat- 
rimony. 

Phyllis (slyly). Matrimony? You mean matter-o'- 
money, Aunt Letitia. 

Mrs. V. A. (to herself). Well — well — so Dunbar has 
lost his money ! This does complicate everything. (Pauses.) 
Now Phyllis — Mr. Van Alstyne and I are willing to advance 
a sufficient sum to you girls — 

Mrs. B. (haughtily). Why, Letitia Aldrich Van Alstyne ! 

Phyllis (rising). Oh, no, Aunt Letitia, we couldn't let 
you do that! If we really need it, we'll come to you and — 

Mrs. V. A. I had an idea that some of the Castleman 
foolishness would stand in the way of good hard common 
sense — so I have a second proposition to make. Mr. Van 
Alstyne and I will buy this place from you and fit it up as 
a wayside inn for motorists. It's a good distance from 
town — and (looks around) with all this junk, we ought to 
make it fairly attractive. 

Mrs. B. (hysterically). Sell the house — oh, Phyllis — 
Sell the house! 

Phyllis (going to Mrs. B.). Oh, we couldn't do that — - 
we really couldn't. Aunt Letitia — not until we're forced to 
do so. (Laughingly.) You see, somewhere in this house, 
Phyllis Castleman has hidden the string of pearls which 
rightfully belongs to me. I couldn't let it fall into the hands 
of strangers. 

Mrs. V. A. Phyllis Aldrich, do you believe that foolish 
tale? And how do you know they weren't paste? And 
how — 

Enter Belinda at R. 

Belinda. Please. Miss Phyl, I ain't had no chance this 
morning, to dust this here room. 

Phyllis. Then do it right now. Aunt Letitia come up- 
stairs and lay off your wraps — and stay to lunch. (As she 
protests.) Oh, you must — (takes her by arm). Aunt Alice 
insists and — [They go slowly up the stairway, Mrs. Breck- 



l(i THE SPELL OF THE IMAGE 

INRIDGE follozving haughtily. While they mount the stairs 
Belinda dusts almost immediately making her zvay to the 
image.) 

Belinda (as she dusts). Still grinnin', ain't yoii, smarty? 
Well / ain't afraid of you — I ain't afraid of you ! I'll show 
you. (Slaps image on mouth.) There! (The image totters, 
and as Belinda catches it, she touches the spring and 
the pearls fall out. She stands speechless for a moment — 
then shrieks wildly.) Oh — oh — the pearls — Miss Phyllis — 
the pearls! (Phyllis hurries to her, leaving Mrs. B. and 
Mrs. V. A. on stairway. For a moment she gazes hezvil- 
deredly, then kneels and lifts the pearls.) 

Phyllis. The pearls — the pearls, after all these years — 
and in the image. (Gazes at portrait.) Oh, Phyllis Castle- 
man you have given me the only thing on earth that can 
bring me happiness ! (She rises suddenly and rushes to 
zvindozv.) John! John! (Holding out the pearls to the 
aunts.) See, Aunt Alice — see, Aunt Letitia. The Castleman 
pearls, the Castleman heritage, the Castleman deliverer ! 

As John enters. 

Phyllis. Take them, John — they've been hidden all 
these years in the image — take them — (Thrusts them in 
his hand.) Sell them — (As he starts to speak.) Oh, don't 
question me, don't question me — but sell them, sell them — 
and when you hold the money in your hand, buy me half the 
Clarion! (Frenziedly.) Do you hear — do you hear? Half 
the Clarion! Go, go! (Pushes him away, then hurries to 
front of stage and falls on her knees in front of image.) Oh, 
you taunted me, you laughed at me, you cast your spell upon 
me, because in your wicked heart there lay the treasure that 
was mine, the treasure that could bring me the beautiful 
things that make life worth while ! But your mystery has 
been solved, — your spell has been broken ! I'm free — free — 
free ! 

(Curtain is lowered a moment to indicate a passage of 
some hours.) 

Curtain rises on clear stage. In a moment, Kitty enters 



THE SPELL OF THE IMAGE 11 

from zvindoWf throzvs ojf her coat and zvalks nervously 
around, finally seating Jierself L. of table. In a moment 
comes the lozv sound of an auto horn ; she listens attentively. 
Then a knock at the zvindozv is heard. She rises and goes 
to zvindozv. 

Kitty. Who's — who's there? 

Terrence (from outside). Just a somebody whose car 
has gone back on him and who would be asking for the loan 
of another passenger. 

Kitty opens zvindozv. Terrence enters. 

Terrence. And have you been waiting long for me, 
Dream Princess? 

Kitty (sitting on settee). I think I have — always — 
been waiting for you, Adventure. 

Terrence (zvhispering) . Then — come! {TJirozvs gloves 
and cap on settee.) 

Kitty. Come — where ? 

Terrence (pointing to zinndow). Away — away — far 
away into the magic of the moonlit night, with only the 
friendly stars to bless us and the whispering winds to guide 
us and a lover's knot of a road to lead us into the Land of 
Dreams Come True ! 
• Kitty. Terrence ! 

Terrence (sitting by her). Ah — listen to me, Kitty 
darlin' — for at the end of the road there is a quiet little 
church and a kindly old preacher to help us on our way. 
And faith, I've been carrying the license and the wedding 
ring all day. 

Kitty. I mustn't listen to you — I couldn't do it — oh, 
I couldn't ! 

Terrence. Sure and do you think for a minute that I'll 
be leaving without you? (Suddenly.) Or is it that 3^ou're 
wanting an everyday wedding in an everyday church, with 
everyday people and — an everyday groom? 

Kitty. No^no — it isn't that — you know it isn't — but — 
what will everybody say? 

Terrence. Faith and is it everybody that counts — or 
just you and I? (Softly.) Just you and I! 



78 THE SPELL OF THE IMAGE 

Kitty. Oh, Terrence — I want to go — I — (rises.) 

Terrence (rising, with hat and gloves). Then be get- 
ting your coat — (Takes Kitty's coat.) — and when I bring 
you back you can be telling your story — and tomorrow — 
(folds coat around her.) 

Kitty (eagerly). Tomorrow? 

Terrence. We'll be turning our faces toward the little 
old island across the sea and together we'll be feeling its 
mystery — and together we'll be sharing the enchantment and 
the wonder light. (Pleadingly.) Come, Kitty? 

Kitty (turning to portrait). Oh, I don't care what you 
think, you prim, precise, prunes-and-prisms thing! It's my 
chance for happiness — it's my romance — my adventure, and 
all the conventions in the world can't take it from me. 
(Turns and holds out her hands.) Oh, Terrence — Terrence 
— I'll follow your road even to the end of the day ! I'm 
coming ! 

Terrence (taking her hands). Dream Princess ! (They 
go out windozv.) 

Enter Phyllis down stairway. 

Phyllis. Kit, will you come here a moment? (Pauses.) 
Kitty! Where are you? (Goes to door at R.) Kitty! 

Bell rings — she hurries to door, L. 2 E. Enter Mac- 
Donald. 

Phyllis. Oh, Mac — it's you ! I thought maybe Kitty — 

MacDonald. Kitty's off with Donovan — I passed them. 
Jove, but I'm tired! Weren't you expecting me? (Sinks 
on settee.) 

Phyllis. Of course I was. (Crosses to chair L. of 
table.) Sit here — be comfortable — and rest. (MacDonald 
rises and crosses to chair L. of table. Phyllis brings stool 
and sits at his left.) 

MacDonald. I don't believe I've ever been so tired in 
all my life — and I know I've never been so happy. Phyl — 
my luck's turned. 

Phyllis. Tell me about it. 



THE SPELL OF THE IMAGE 79 

MacDonald. First of all came the return of Carter's 
advertising — then, the new presses with money to pay for 
them — and along with everything else, the prospect of good 
days ahead. 

Phyllis (after a pause). Is that — allf 

MacDonald. I've saved the best till the last. (Impres- 
sively.) Phyl, I've sold half of the Clarion! 

Phyllis. Sold it! Is that good news? (Leans for- 
ivard.) 

jMacDonald. It wouldn't be if I hadn't needed the money. 
But — as it is — it straightens out my difficulties and gives 
me a chance to make good. 

Phyllis. Then I'm glad. Who bought it? 

MacDonald. A mysterious person who refused to give 
his name — purchased it through Jack. 

Phyllis. Have you no suspicion? 

MacDonald. Not the shghtest. (Sighs.) It's been an 
exciting day. (Leans hack in chair.) 

Phyllis. I've had an exciting day, too. 

MacDonald. What's happened? 

Phyllis. The pearls have been found by Belinda. 

]\IacDonald (sitting up straight). What! Not the 
pearls we've hunted for years ? 

Phyllis. The same. (Points.) There — in the image. 

]\IacDonald. Sounds like a fairy story, doesn't it? 
(Leans toward her.) Phyl, you don't know how glad I am 
— for this means an end of all your little worries and — 

Phyllis. I've sold my treasure and have invested the 
proceeds already. 

MacDonald. Already! Isn't that rather hasty work, 
Phyl ? You'd better take time to consider. 

Phyllis (laughing). Oh Mac, Mac, you dear old stu- 
pid ! Can't you guess? 

MacDonald (da/:ed). Phyl! You don't mean — 

Phyllis. Oh, I do, I do ! I wanted to have my own 
work — I wanted to help you — (Suddenly as he turns away.) 
Why Mac — aren't you glad? 

MacDonald. Give me time to realize the situation. 



80 THE SPELL OF THE IMAGE 

Phyllis (after a long pause). Mac — once upon a time 
you asked me to marry you. 

MacDonald (grimly). I did ! 

Phyllis. And later on — you said you'd never ask me 
again. ' 

MacDonald. I meant it. I never shall 

Phyllis. Well, then — Mac, will you marry me? 

MacDonald. Phyl! 

Phyllis. For if you don't — I'll marry you ! 

MacDonald. You're not saying this in jest? 

Phyllis. In jest? It's the most serious thing in life to 
me. For everything's changed since you became a man. I 
want you — I need you — and I just can't see how I'm going 
CO do without you ! 

MacDonald. You won't have the chance. (Places his 
arm around her.) Phyl! 

Phyllis (rising). Wait a minute, Mac! I haven't 
changed my views on economic independence. We're part- 
ners — we'll work our paper together — and we'll start right. 
(Rushes to mantel and cat dies up her purse.) Here's half 
the cost 01 a wedding ring! (He rushes to her.) 

Curtain. 



DENISON'S ACTING PLAYS 

Price IS Gents Each, Postpaid, Unless Different Price Is Given 



M. r. 
Winning Widow, 2 acts, IJ^ hrs. 

(25c) 2 4 

Women Who Did, 1 hr. . . (25c) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES, COMEDIETAS, Etc. 

All on a Summer's Day, 40 min. 4 6 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min'. 2 3 

Borrowed Luncl\eon, 20 min.. 5 

Borrowing Trouble, 20 min 3 5 

Case Against Casey, 40 min... 23 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min 1 4 

Dlide in a Cyclone, 20 min . 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 

Fun in Photo Gallery, 30 min.. 6 10 
Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case. 30 min.. 1 2 

Hans Von Smash, 30 min.... 4 3 

I'rn Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbing' Book Agent, 30 m. 3 2 

My Wife's Relations, 1 hr.... 4 6 

Not a Man in the House, 40 m. 5 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min 4 3 

Pat, the Apothecary, 35 min.. '6 2 

Persecuted Dutchman, 30 min. 6 3 

Regular Fix, 35 min 6 4 

Second Childhood, 15 min.,.. 2 2 

Shadows, 35 min 2 2 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min. . 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 

W'anted a Correspondent, 45 m. 4 4 

Wanted a Hero, 20 min 1 1 



M. F. 

Wide Enough for Two, 45 min. 5 2 

W'rorig Baby, 25 min 8 

Yankee Peddler, 1 hr 7 3 

VAUDEVILLE SKETCHES, IMON- 
OLOGUES, ETHIOPIAN PLAYS. 

Ax'in' Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m.lO 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 min. 1 1 
Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m.l4 

Counterfeit Bills, 20 min 1 1 , 

Darktown Fire Brigade, 25 min. 10 
Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 
Glickman, the Glazier, 25 min. 1 1 
Good Momin' Judge, 35 min.. 9 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

Home Run, 15 min... 1 1 

Tumbo Tum, 30 min 4 3 

Little R'ed School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Memohis Mose, 25 min 5 1 

Mischievous Nigger, 25 mia. . 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Oh, Doctor! 30 min 6 2 

One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10m. 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funnygraph, IS m. 6 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Stage Struck Darky, 10 min.. 2 1 
Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, IS min.... 2 

Uncle Jeff, 25 min.. 5 2 

What Happened to Hannah, 15m. 1 1 



A ereat number of 

Standard and Amateur Plays 

not found here are listed In 

Denlson's Catalogue 



T. S. DENISON & COMPANY, Publishers, 1 54 W. Randolph St. , Chicago 



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IN this Series 
are found 
books touching 
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in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
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A Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; ior young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



LIBRARY OF CONGRESS 



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Monorogues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 25c 

DRILLS 

The Best Dri.i Book. 

\"ery popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays Aith Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recuations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks arid Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadovy/ Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Black American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland,via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jok es, gags, etc. 

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